M Noushad's portfolio website
MUHAMMED NOSHAD thinks the gracious presence of Celine Dion and her songs don’t save Love Again from banality and predictability. Getting to see Celine Dion acting a role, albeit as herself, is a surprising pleasure, especially when she is through hard physical ailments and her concert tours stay cancelled indefinitely. Love Again brings the charm of the pop queen as
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Nomadland raises critical concerns about the economy, lifestyle and perceptions of happiness, writes MUHAMMED NOUSHAD. In Nomadland, the analogy of a motor home is that of a lifeboat. The economy is Titanic, unstoppably sinking thanks to the wreckage. The sinking could be slow, too slow to notice or acknowledge, but it’s inevitable. When Bob Wells, the charismatic vandweller and minimalist who plays himself in
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MUHAMMED NOUSHAD reads Shoojit Sircar’s Gulabo Sitabo in the context of India’s contemporary conflicts on identity, heritage and even citizenship. The octogenarian actor Farrukh Jaffer of Gulabo Sitabo, somehow reminds one of the nanis and dadis of Shaheen Bagh, as her remarkable character Fathima Beegum has got certain resemblances to those elderly women sat at the Delhi-Noida highway, to protest against
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Collateral Beauty leaves the plot’s philosophical potential poorly developed, writes MUHAMMED NOUSHAD. When you are losing your six year old daughter inside an intensive care unit and you are aware of the unforgivable fact that her life-supporting machinery is removed one by one, and the death is soon to be pronounced, what if you are told by a stranger, “Just make
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In historically troubled times, Parasite asks fundamental questions about the politics of space, its ownership and occupation, ethics and autonomy. A review by MUHAMMED NOUSHAD, originally published in Counter Currents web magazine. The multi-award winning South Korean movie Parasite is a feast of stunning surprises and irresistibly eloquent symbolism. From the very title and its ambiguity to the hierarchy of three families
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