Pradhama Dhrishtya Kuttakkar
Thriller, Drama (Malayalam)
Follows a woman constable who joins the police force through appointment after the death of her husband. (more…)
Last Man in Tower
Drama (Hindi)
Masterji is a retired schoolteacher whose refusal to go along with those around him places him in direct conflict with his own community. His act of quiet resistance ripples outward, throwing into relief the choices and compromises of neighbors – (more…)
The Revolutionaries
Drama (Hindi)
The Revolutionaries narrates the inspiring tale of brave young Indian freedom fighters who fought for ending British Raj with their unwavering spirit and ideology. (more…)
Guild Reviews by Film
Waiting Hai
Comedy, Drama, Crime (Hindi)
Sugam joins the RPF and investigates a Tatkal scam. Hamza and Mama turn booking software into a business, facing rivalry and betrayal. Sugam arrests the agents and tracks Hamza, ending the scam before his escape to Dubai.
Cast:
Divyendu Sharma, Bhuvan Arora, Kumud Mishra, Vijay Maurya, Harshita Shekhar Gaur, Sunita Rajwar, Dayashankar Pandey, Yashpal Sharma
Director:
Sameer Vidwans
Fri, September 18 2026
Sugam Mishra is a newly married railway cop who has just joined duty, juggling pressures at home and at work. He finds a mentor and a father figure in his senior. Afroz Hamza, a hacking enthusiast nursing a heartbreak in college, takes to crime for a living – joining hands with his uncle to do the dirty backend work for travel agents. While most films try to milk Divyendu Sharma’s Mirzapur image, a show like Waiting Hai actually showcases his range. As an earnest, newly-married man in his 20s starting a new job, he mirrors the character’s rebellion and idealism with honesty. Bhuvan Arora is decent as the invisible hacker wronged by the system. One of the more moving portrayals comes from Kumud Mishra as Sugam’s senior on the verge of retirement. The supporting cast – Vijay Maurya, Harshita Gaur, Sunita Rajwar and Dayashankar Pandey – deliver the goods.
Gandhari
Action, Drama, Thriller (Hindi)
When a mother loses her eyesight and her daughter in a kidnapping, she takes matters into her own hands to hunt down those responsible.
Cast:
Taapsee Pannu, Ishwak Singh, Mita Vashisht, Swastika Mukherjee, Chhaya Kadam, Jatin Sarna, Prashant Narayanan, Chandan Roy, Vishwanath Chatterjee, Priti Shroff
Director:
Devashish Makhija
Writer:
Kanika Dhillon
Fri, September 18 2026
பானிக்கு ஏற்படும் பார்வைக் குறைபாடு, அந்தச் சூழலிலும் குழந்தையைத் தேடி ஓடும் கதை சுவாரஸ்ய லைனில் செல்கிறது. குழந்தை கடத்தல் மாஃபியா பற்றிய விவரிப்பும் ஆராய்ச்சியும் படத்துக்கு ஆழமானதொரு நிறத்தைத் தருகின்றன.
பானியும் (டாப்ஸி) அவருடைய கணவரும் ரயிலில் சென்றுகொண்டிருக்கிறார்கள். திடீரென ஜாய்புரா என்ற ஊரில் அவர்களுடைய குழந்தையைக் கடத்திவிடுகிறார்கள். குழந்தையைக் காப்பாற்ற ஓடிச் செல்கையில் பானிக்குத் தலையில் அடிபட்டு கண்பார்வையில் பிரச்னை ஏற்படுகிறது. ஜாய்புராவில் இப்படியான குழந்தைக் கடத்தல் அதிகமாக நடப்பது பற்றியும், அதை நிகழ்த்தும் நெட்வொர்க் பற்றியும் பானி அறிந்துகொள்கிறார். அதன் பிறகு, பார்வைப் பிரச்னை சரியானாலும், பார்வைச் சவால்கொண்டவர் என்றே தனது அடையாளத்தை வைத்துக்கொண்டு ஜாய்புராவில் தங்கி, தன் குழந்தையைத் தீவிரமாகத் தேடுகிறார். இறுதியில் தன் குழந்தையைக் கண்டுபிடித்தாரா, இந்தக் கடத்தல் குழுவின் பின்னணி என்ன, ஜாய்புராவில் அவை எப்படி ஊடுருவியிருக்கின்றன என்கிற முடிச்சுகளை அவிழ்ப்பதே நெட்ஃப்ளிக்ஸ் தளத்தில் வந்திருக்கும் இந்த ‘காந்தாரி’யின் கதை. (தமிழ் டப்பிங் உண்டு).
Sat, September 12 2026
A land that worships the divine feminine yet treats its women poorly. This is a paradox that rings tragic and true both in reality and in the fictional world of Gandhari. The film is set in Joypurra, an unsettling place where the disappearance of young girls has been frighteningly normalized. The story opens by establishing a happy family of three. Taapsee Pannu and Ishwak Singh play a husband and wife and parents to a young girl Mishti. When Mishti suddenly goes missing the narrative dives straight into the conflict.
Sun, September 6 2026
Haiwaan
Crime, Thriller (Hindi)
A retired judge faces difficulty keeping his daughter safe from a convict he imprisoned. Later, when he gets murdered, a man with visual impairment who was loyal to him tries to defend his daughter.
Cast:
Akshay Kumar, Saif Ali Khan, Boman Irani, Shriya Pilgaonkar, Saiyami Kher, Rajpal Yadav, Sharib Hashmi, Rajesh Sharma, Manoj Joshi, Asrani
Director:
Priyadarshan
Wed, September 16 2026
An intriguing psychological thriller is overwhelmed by Akshay Kumar’s star persona, implausible action, and a screenplay that sacrifices restraint for spectacle.
Some thrillers are so absorbing that they persuade us to surrender logic at the door and simply follow the action wherever it takes us. A good mystery, particularly one built around a cat-and-mouse chase, can make even the most improbable turn feel plausible because the characters, the atmosphere, and the suspense are persuasive enough to keep disbelief suspended. Haiwaan begins with precisely that promise — a potentially engrossing tale of guilt, vengeance, betrayal, and retribution, populated by characters whose secrets could have sustained a gripping psychological thriller. Instead, Priyadarshan’s remake of his own 2016 Malayalam film Oppam gradually loses sight of the thriller it could have been, drowning a promising premise in star power, implausible action, and a screenplay that repeatedly mistakes excess for excitement.
Sat, September 12 2026
Priyadarshan’s Haiwaan is a remake of his own Malayalam film Oppam (2016), which was a big hit a decade ago. After watching Haiwaan, I spent some time wondering why Priyadarshan chose to remake a successful film of his own. What value addition could he possibly bring to it? Alas, I couldn’t think of a satisfactory answer - except that commercial considerations must have warranted it.
Sat, September 12 2026
This overlong psychological thriller starring Saif Ali Khan and Akshay Kumar struggles on pretty much every front
At the start of Haiwaan, Shyam (Saif Ali Khan) boards a ferry, teases a man who owes him money, sings and plays guitar. If it wasn’t for his dark glasses and cane, it would be hard to tell he’s blind—indeed, it’s a running conspiracy theory through Priyadarshan’s film that he’s only pretending he can’t see. Shyam has heightened senses of sound, touch, taste and smell, which provide him an uncanny mental picture of the world around him. But when his sister tearfully asks for his blessings, he responds after a few seconds and doesn’t realise that she’s left. He’s left patting the air around him while violins play sadly on the soundtrack.
Slow Horses S06
Crime, Drama, Mystery (English)
Follow a dysfunctional team of MI5 agents—and their obnoxious boss, the notorious Jackson Lamb—as they navigate the espionage world's smoke and mirrors to defend England from sinister forces.
Cast:
Gary Oldman, Jack Lowden, Kristin Scott Thomas, Hugo Weaving, Saskia Reeves, Christopher Chung, Rosalind Eleazar, Aimee-Ffion Edwards
Wed, September 16 2026
The Emmy-nominated British espionage drama is back with its sixth season in six years, and the tension remains at an all-time high
Apple TV’s Slow Horses has never shied away from death. In the past five seasons, Slough House has lost several agents, and this season, the count is about to get higher. Gary Oldman’s Jackson Lamb must figure out who is targeting his agents and why. Based on the books of Mick Herron, the MI5 agents of Slough House have endured a lot, but this season, they’re truly on the run as sitting targets in a mission that’s out to get them. Led by Oldman and Jack Lowden, the darkly humorous spy thriller just improves with every season, as the writing, characterisation and direction just get sharper and hit that much harder.
Neagley
Drama, Mystery, Crime (English)
Frances Neagley is a private investigator in Chicago and former military colleague of Jack Reacher in the Army's 110th Special Investigations Unit. When she learns that a beloved friend from her past has been killed in a suspicious accident, she becomes hell-bent on justice.
Cast:
Maria Sten, Greyston Holt, Adeline Rudolph, Matthew Del Negro, Damon Herriman, Jasper Jones
Wed, September 16 2026
My loudly-declared soft spot for Reacher has always had room for Neagley, and when they are together, they rekindle old magic: maybe in the next Neagley outing, have more of Reacher? And maybe more Neagley, in the next Reacher?
At the outset, let me confess how keenly I was waiting for this Reacher spin-off, with his favourite team-mate Neagley at its centre: the fierce ex-Armywoman who went on to become a PI in Chicago, has been a staple in the best Reacher adventurers, and has livened up things everytime she shows up in the show. In her first solo outing, Maria Sten’s Neagley fills the screen with her presence, the creators Nick Santora and Nicholas Wootton wisely surrounding her with an interesting ensemble from the get-go: smart cop Hudson Riley (Greyston Hold), an equally smart secretary Renee Birdwhistle (Adeline Rudolph) and homeless orphan Keeno (Jasper Jones), who get enough to do together and on their own.
Pradhama Dhrishtya Kuttakkar
Thriller, Drama (Malayalam)
Follows a woman constable who joins the police force through appointment after the death of her husband.
Cast:
Parvathy Thiruvothu, Vijayaraghavan, Unnimaya Prasad, Mathew Thomas, Sidharth Bharathan, Azees Nedumangad, Vinay Forrt, R. Parthiban, Balaji Sarma, Vrindha Menon
Director:
Shahad Nilambur
Writer:
Vijesh Thottingal, P. S. Subramanian
Tue, September 15 2026
Shahad, who debuted with the forgettable coming-of-age drama ‘Prakashan Parakkatte’ (2022), ups his game here by several notches, aided by a taut screenplay
It may be one of cinema’s greatest tricks that it can twist one’s line of thinking about a person or an incident just with the perspective it chooses to present, the framing, editing choices, or the background score used. Reading a basic news report on the incident of crime at the centre of Shahad’s Pradhama Drishtiya Kuttakkar might make one assume a particular stand on the culprits, knowing the long history of this kind of crime in the country and the stories that can be made up to save them. However, the film frames the incident, the events leading up to it, its aftermath and the people involved in such a way that not once do we wish for the culprits to be caught and punished. Of course, we have Jeethu Joseph’s Drishyam (2013), in which we all collectively stood with those who committed the crime. The film also has quite a few parallels with Drishyam, but this one has very different concerns and approach to the crime.
Mon, September 14 2026
A quartet of cops orchestrate a cover-up in Shahad Nilambur’s occasionally thrilling ‘Pradhama Drishtiya Kuttakkar’
The first few scenes of Shahad Nilambur’s Pradhama Drishtiya Kuttakkar remind one of Sandhya Suri’s Santosh, in how undramatically we find out about the death of Aleena Abraham’s (Parvathy Thiruvothu) husband on duty. Aleena, with a child and the hopes of her husband’s family pinned on her, takes the police job on offer. There are no theatrics, no sad ballads or wave of sympathy for her, her baby or her situation. Theatrics is for later, but manufacturing sympathy almost never enters the picture, for Aleena is cut from a different cloth. The film then speedruns—a montage covers her training, a split-second encounter with her husband’s former colleague, her posting to a station in Kottayam and getting comfortable with the new workplace and her sufficiently leisurely colleagues, all of them in the lowest rungs of the police hierarchy. We realize that time has passed and the baby is now a toddler.
Sun, September 13 2026
How do we empathise with a force like the police? The last time I asked myself this, I was watching reels of police violence against Gen-Z protesters at Delhi’s Jantar Mantar. That scepticism lasted about thirty minutes, right until I spotted a traffic cop drenched in sweat while I sat comfortably in an AC vehicle, wearing sunglasses and two layers of sunscreen. Humanising lower-rank police officers in India is an uncomfortable exercise. Director Shahad’s investigative thriller Pradhama Drishtya Kuttakkar takes up that challenge and builds a cat-and-mouse game around a group of cops hiding an accidental crime from a system that both empowers and oppresses them.
Last Man in Tower
Drama (Hindi)
Masterji is a retired schoolteacher whose refusal to go along with those around him places him in direct conflict with his own community. His act of quiet resistance ripples outward, throwing into relief the choices and compromises of neighbors – including Mrs. Puri – as an offer of change tests what each of them is willing to hold on to.
Cast:
Manoj Bajpayee, Divya Dutta, Boman Irani, Sukant Goel, Chandan Roy Sanyal, Ujjwal Chopra, Swaroopa Ghosh, Uday Chandra, Madhuri Bhatia, Shrikant Yadav
Director:
Ben Rekhi
Mon, September 14 2026
Sat, September 12 2026
Rekhi’s film on Aravind Adiga's novel is passable in theory but I wish I was more affected by it when it ended.
In a hyper-capitalistic city where everything/one is for sale, where desires can be preyed upon as a means to an end, how does one take on a man who wants… nothing? It’s the question at the heart of Aravind Adiga’s Last Man in Tower (2011) – following Yogesh Murthy, a resident of Vishram society, who refuses to cower in front of a gleaming offer by builder Dharmesh Shah. In director Ben Rekhi’s feature film adaptation, Murthy is changed to Mishra, presumably because of Manoj Bajpayee playing the part. Bajpayee played a similarly stoic, wilting Mumbai resident in Bhonsle (2018). Shah is played by Boman Irani, who was a builder in Khosla Ka Ghosla (2006) too. Irani is great at making his villains palpably human. There’s a wonderful moment where he coughs through his chronic bronchitis—and then takes a deep breath of the noxious fumes at a building site. “It gives me life,” he tells a doctor earlier in the film, after being informed about his deteriorating lung condition because of his very line of work.
Sat, September 12 2026
Directed by Ben Rekhi, Last Man in Tower is an adaptation of Aravind Adiga’s novel of the same name. The story revolves around a decrepit residential building in Mumbai and its residents, and how the lure of a better future changes ties when a builder arrives with an offer to acquire and reconstruct the property.
Directed by Ben Rekhi, Last Man in Tower is a perfectly pleasant adaptation of Aravind Adiga’s novel of the same name. But therein lies the problem; it is well-behaved when it should have been transgressive. At its core, this is a cautionary tale about the decaying morality of the Indian middle class, a satire about our collective lack of social trust. But filtered through Rekhi’s lens, the movie comes across as an ode to the undying spirit of Mumbaikars. The story revolves around a decrepit residential building in Vakola, Mumbai, an almost fantastical vessel where men and women of all ages, sexes, and social classes live in relative harmony. The building can be seen as a metaphor for India; a society we imagine existed before it was shredded to pieces by populist politicians. At its (moral) centre is a retired teacher affectionately known by everyone as ‘Masterji’. He’s played by Manoj Bajpayee in a terrific central performance that occasionally reveals the underlying rage that should have been more palpable in the film itself.
Ghamasaan
Thriller, Action (Hindi)
A cat-and-mouse tale set in the Hindi heartland, where male friendships and rivalries unveil homoerotic tensions. Men on both sides of the law traverse arid lands, creating a sense of place where unexplored histories reside.
Cast:
Pratik Gandhi, Arshad Warsi, Ishita Dutta, Rajpal Yadav, Jatin Goswami, Deepraj Rana, Pankaj Saraswat, Anurag Thakur, Paritosh Sand, Kumar Kanchan Ghosh
Director:
Tigmanshu Dhulia
Writer:
Ram Yash Singh, Piyush Singh
Sun, September 13 2026
मध्य भारत के डकैतों की बात होती है तो चंबल नदी के आसपास के बीहड़ वाले डाकू (ओह सॉरी, बीहड़ में बागी होत हैं, डकैत होत हैं पार्लामैंट में) ही याद आते हैं। यही कारण है कि किसी ज़माने में कुख्यात रहे डकैत ददुआ यानी शिव कुमार पटेल को भी चंबल से जोड़ लिया जाता है जबकि उसका इलाका उत्तर प्रदेश के चित्रकूट में माणिकपुर के आसपास का पाठा (पठारी) क्षेत्र था। कभी बीहड़ की फूलन देवी पर बनी कमाल की फिल्म ‘बैंडिट क्वीन’ से जुड़े रहे और वहीं के पान सिंह तोमर पर ‘पान सिंह तोमर’ नाम से एक उम्दा फिल्म दे चुके फिल्मकार तिग्मांशु धूलिया अब पाठा के ददुआ पर यह फिल्म ‘घमासान’ (Ghamasaan) लेकर आए हैं। मगर क्या यह फिल्म उन दो फिल्मों की तरह शानदार बन पाई है? आइए देखते हैं।
Sun, September 13 2026
Set in the Hindi heartland, Bundelkhand, Ghamasaan delves into the conflict between a powerful dacoit named Maharaj (Arshad Warsi) and a fearless officer, Aditya Singh (Pratik Gandhi). As Aditya tries to dismantle Maharaj’s reign, he needs to rise above deep corruption, taking stock of power struggles and the thin line between the law and the outlaws. Pratik Gandhi is decent as an approachable, earnest cop and gives it relatability. And, after a while, Arshad Warsi sheds his comedy image and brings an earthy flamboyance to a ruthless, proactive dacoit. Rajpal Yadav bags a unique role, and among the supporting cast, Deepraj Rana, Jatin Goswami and Ishita Dutta make a mark.
Fri, September 11 2026
Arshad Warsi as Maharaj didn’t make me believe all the way that he could be a cruel man with zero compassion. And there’s also Rajpal Yadav, in a striking supporting role, which leaves a mark.
The arena is Bundelkhand, not Chambal, but Timanshu Dhulia knows his terrain. And that familiarity makes Ghamasaan stand out from the series of films shot on locations created on sets, their artifice seeping into the story-telling: the best part of this conflict between cops-and-robbers is the authenticity of the place, and the people. Maharaj (Arshad Warsi) is Bundelkhand’s Bandit King, as opposed to Phoolan, Chambal’s Bandit Queen (in which Dhulia was casting director) , as well as Paan Singh Tomar (which Dhulia directed, turning it into one of his, and lead Irrfan’s, best collaborations) from the same area who famously gave us that line about ‘baaghis’ and ‘dakaaits’.
Panchanama
Crime, Mystery (Telugu)
Police officer Jai Ram refuses to accept his brother Aadi's death as an accident. His investigation leads him to reopen other suspicious death cases involving Aadi, Praveen and Joseph, eventually uncovering a much larger conspiracy connected to a medical syndicate.
Cast:
Bharath Srinivasan, Shivaji Raja, Medha Reddy, Charan Babu, V. S. Roopa Lakshmi
Director:
Mohan Srivatsa
Sun, September 13 2026
Cop Jai Ram’s life takes a drastic turn when his younger brother dies under mysterious circumstances. The local authorities and the officials quickly dismiss the tragedy as a mere accident. Refusing to buy it, he kickstarts an investigation to uncover what truly happened. Bharath fits the part of a hardened cop with a past and has the right composure and body language expected of a protagonist in a tight investigative thriller. Medha Reddy is decent in a role with limited scope. The show is particularly noteworthy for Roopa Lakshmi, who gets to do something substantial beyond her goody/emotional mother roles. Sivaji Raja does what’s expected of him, with no surprises there.
The Revolutionaries
Drama (Hindi)
The Revolutionaries narrates the inspiring tale of brave young Indian freedom fighters who fought for ending British Raj with their unwavering spirit and ideology.
Cast:
Bhuvan Bam, Pratibha Ranta, Rohit Saraf, Gurfateh Pirzada, Jason Shah, Paoli Dam, Prosenjit Bhattacharya, Pallavi Chatterjee
Director:
Nikkhil Advani
Writer:
Sanyukta Shaikh Chawla, Akshita Wadhwana
Sat, September 12 2026
The Revolutionaries is a vivid document of the lesser-known armed resistance of India’s independence movement. Set in the early 20th century, it tells the stories of young, fearless freedom fighters, including Rash Behari Bose, Sachindranath Sanyal, and Bagha Jatin, as they risk everything to challenge the might of the British Empire. The series brings together several exciting talents that have made use of OTT as a talent showcase, including Bhuvan Bam, Rohit Saraf, Pratibha Ranta and Gurfateh Pirzada. Yet, they seem overwhelmed by the prospect of carrying the density of the theme. Bhuvan, Rohit and Pratibha get to shine in flashes, though nothing consistent enough to make it a poignant performance. Jason Shah, as General Dyer, is hardly intimidating.
Fri, September 11 2026
Fri, September 11 2026
Nikkhil Advani earlier floored us with ‘Freedom At Midnight’, which recounted the years that led to India’s freedom struggle
“Hum se pehle bhi kranti, hamare baad bhi kranti…” Yet many of us are not fully clued into the tale of armed resistance and revolutionaries who fought for the freedom of our country, not always successfully, but never in vain. Creator-writer Nikkhil Advani, who floored us with ‘Freedom At Midnight’, recounting the years that led to India’s freedom struggle in many sterling ways, is back again. This time, he digs further back into history — early 20th century. The heroes of his earlier series — Gandhi, Nehru, Patel — are household names. But Rash Behari Bose, Jatindranath Mukherjee aka Bagha Jatin and Sachindranath Sanyal urf Sachin are at best names which ring a bell, but only a few among us fully know or understand their tales of valour.
Fall 2: Deadpoint
Thriller (English)
On a perilous climb across Thailand's Mount Kwan, two climbers become trapped thousands of feet above the ground, where vertigo-inducing heights, sheer exposure, and impossible odds turn every moment into a fight for survival.
Cast:
Harriet Slater, Arsema Thomas, Tom Brittney, Virginia Gardner, Sahajak Boonthanakit, Korakod Yensuk, Jordan Coleman, Maryna Bennett, Noen Perez, Nattapon Sukphiam
Director:
Michael Spierig, Peter Spierig
Writer:
Scott Mann, Jonathan Frank
Sat, September 12 2026
Fall 2 Deadpoint does its job of inducing altitude terrors pretty efficiently. The writers of Fall are also associated with its sequel, and they do take their job seriously.
When a regular-Joe film is titled just Fall, you can be pretty sure it will be about a rise. When it is followed by a Fall 2, you can swear by it. The first Fall released to decent success in 2022, and achieved some bigger highs via social media reels. In that, two best friends climbed up a desolate TV tower to bury their grief, and encounter heartbreak and vultures. Fall 2 substitutes the tower for a fictional Mount Kwan in Thailand, but can’t resist the grief, betrayal or vultures still, with an over-the-hilltop ending that suggests our survivor is headed for Fall 3.
Sat, September 12 2026
Sequel to 2022 original, Fall 2 is too grim for its own good. The film appears to believe that it is a meditation on grief and an inspiring fable about emotional emancipation, without actually tackling either idea with any depth.
Released in 2022, Fall stood out as an uncommonly well-made survival thriller — it had a killer premise, excellent performances and surprising emotional depth. The genre has only become more popular in the years since. This year alone, we’ve seen the Netflix films Apex and The Last House and the Prime Video title The Devil’s Mouth. None of them were any good, although Apex featured a memorably unhinged performance by Taron Egerton. This week’s Fall 2: Deadpoint most definitely comes up short of its predecessor, but more disappointingly, it can’t quite match the camp qualities of this year’s three other survival thrillers either.
Life of Jorge Luis Borges
Documentary (Spanish)
A biography of Jorge Luis Borges working from an exhaustive review of the papers he left, the books he read, the places he went to. And with this, an attempt to decipher a very peculiar life: someone who lived like a hidden, underground warrior, whose cause was literature, literature conceived as a kingdom and as a landscape. If Cold War spies fought from their desks or from an uninhabited house to defend their half of the world, Borges strove from a library to elevate and broaden the territories of his own tribe: the people for whom the most important part of the universe is books, plots and words. This film is devoted to that secret pilgrim (to borrow from Le Carré, the king of all spies).
Cast:
Jorge Luis Borges, Ernesto Montequín, Nicolás Helft, Laura Paredes, Milva Leonardi, Pablo Dacal
Director:
Mariano Llinás
Fri, September 11 2026
Venice Film Festival 2026 | The ultimate vagrants of contemporary cinema, Argentina’s El Pampero collective has produced another rambling, nearly six-hour adventure between life, fiction, fantasy and charming investigation.
Pioneering Argentine filmmaker Mariano Llinás is the truest inheritor of the Borgesian tradition with a vision of cinema that trumps settled notions. There are no limits or a stiffening of what cinema can be allowed to do. Llinás co-founded Argentina’s, a radical El Pampero Cine collective, a group that includes the other great filmmaker of our times, Laura Citarella. In his latest massive undertaking, Life of Jorge Luis Borges, Llinás sculpts a new form of the creative biography. Premiering at the Venice Film Festival in the Open – Non-Fiction section, this nearly six-hour saga flirts with the tether of creative possibility. An extensive foray into the life, work and politics of Jorges Luis Borges, who saw literature as a kingdom and books the only nation to believe in, the film achieves its mammoth scale through the smallest, most minute interventions. Llinás has no interest in a straightforward chronicle, a regular documentary’s beats. His probing builds through interruptions and flickering curiosities, stretching as far from the linear and conventional as possible.