Introducing Ladies Special, where the girls review...everything. In our first episode, we break down what makes Ajnabee, which completes 17 years this week, a pathbreaking film. #EverythingIsPlanned

Twelve years ago, Khosla ka Ghosla set the template for what was to become a new direction in Hindi cinema. Marked by realism, the film focused on the modest hopes of middle-class India, and how badly those hopes can get shafted.

Most Indian biopics are hagiographies, glossing over the imperfections of their protagonists. Nandita Das’s Manto is none of that. Her Manto is a dazzling writer, betrayed Indian, troubled alcoholic, and an absent family man in the backdrop of a divided nation.

The plot of Manmarziyaan is a story as old as time. It’s also a narrative that spans the breadth of mohallas across India where countless Rumis let go off their pehla pyaar and marry a stranger. Rumi is that woman discussed in hushed whispers in every small town.

We’ve long been accustomed to a bloated, overwrought kind of Hollywood film that exploits India’s poverty and suffering. Enter, Tabrez Noorani’s Love Sonia, that fetishises sex trafficking to eventually celebrate America’s saviour complex.

Anurag Kashyap’s Manmarziyaan is both a manifesto of modern love and a statement against Bollywood's unrealistic portrayal of love triangles. Aided by smart writing and affecting performances, the film subverts the nice guy trope and squashes the idea of the one true love.

Built by Raj Kapoor, the man labelled the Showman of India, the iconic RK Studios is now up for sale. Could we not have treated it better? Given it a new lease on life, possibly as a contemporary cinema history museum?

We invited Abhishek Bachchan, Tapsee Pannu, and Vicky Kaushal to roast each other on the first edition of Tarun Ka Tadka: Where Celebs Get Savage. Watch the cast of #Manmarziyaan give each other some serious burns.

Sajid Ali's Laila Majnu will easily end up as the most conflicting piece of cinema this year. It tests your patience with a frustrating first hour and then presents an affecting 30-minute sequence that offers a visceral portrait of the insanity of love.

At its heart, Kanti Shah’s Gunda, remains a joyous journey of one man's idea of cinema and his devotion to it. Considering the appetite for excess that we now display in our popular culture, isn't it time Gunda is appreciated for its ingenuity?