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  • Aynabaji



    A surprisingly unique take on identity in a commercially viable package led by Chanchal Chowdhury's phenomenal performance. Worth watching just for his brilliance—including an uncanny ability to make you smile with his "mirroring" acts.

    It's tragic that the film still hasn't gotten any sort of distribution with English subtitles as it deserves to be seen more widely. This would do wonders on a platform such as Netflix.

    Production quality-wise, there are issues with sound mixing and color grading, though both are overall salvaged by Chowdhury's charisma.

    · Currently #3 on Letterboxd 25: Bangladesh
    · Currently #33 on Letterboxd 50: Bengali

  • The Last Witness

    The Last Witness


    I've met Park Chan-wook three times in my life: At a signing for Oldboy at Tower Records in Soho, then at the NYFF premiere of Sympathy for Lady Vengeance and once again at a Q&A for Thirst at the same festival. Only at the last event did I get to ask him whom his favorite inspirations were: He said Kim Ki-young and Yasuzo Masumura—which led me to binge on the latter’s works.

    But now, having watched The Last Witness, it's…

Recent reviews

  • A Sun

    A Sun


    A darker Yi Yi: You don’t want the film to end because the stories of the characters you’ve gotten attached to are far from over.

  • Funny Face

    Funny Face


    The absolute lack of chemistry between Hepburn and Astaire makes this such a cringeworthy watch—which is downright tragic considering how wonderful Donen’s production is.

Popular reviews

  • Punch



    LIFE AS FICTION Punch is not a blockbuster. It's about a poor high school kid growing up with a disabled father hellbent on dancing at a cabaret. It's about mothers and being an outsider in a closed off world. It's about fathers and sons and teachers and students. Most importantly, it's about knowing that one cannot separate all these, that in the evermore complicated world we live in, everything converges at once, and we must learn to find solace…

  • Prometheus



    LIFE AS FICTION Michael Fassbender is the best android ever: This, sadly, is the one true takeaway from Ridley Scott’s return to the Alien universe. If forced to admit another, it would be that the elder Scott brother has now further cemented himself as arguably the single most overrated director working today. For him, style over substance has become par for course, and while that isn’t a bad thing, it’s consistently kept him from being great since 1982. His…