Tanya Maniktala and Amol Parashar talk about Netflix romantic anthology ‘Feels Like Ishq’
The Hindu
The actors talk about why they chose to be a part of the project, the challenges of shooting during a pandemic and more
Until recently, cinema was the prefered platform for non-theatre actors in India to showcase their talent. Television was lower in the hierarchy of recognition. A bigger screen meant greater fame. But breaking into cinema, for most aspirants, was like getting to the princess in the Super Mario video game. The advent of digital streaming platforms has changed this. It provides upcoming actors with an alternative space to practice their craft, invalidating the ‘bigger screen equals greater fame’ equation. This relatively new avenue has produced and nurtured young talents, especially in the Hindi entertainment realm. Amol Parashar (who played Chitvan Sharma in TVF’s Tripling) and Tanya Maniktala (Lata Mehra in A Suitable Boy) are beneficiaries of this platform. They will be starring in a Netflix anthology, Feels Like Ishq, which also features several other actors largely seen in digital streaming platforms — Radhika Madan, Neeraj Madhav, Rohit Saraf, Simran Jehani and others. The anthology comprises six short films that narrate modern-day love stories with people from different walks of life. .
The ongoing Print Biennale Exhibition at Lalit Kala Akademi, Chennai, unfolds as a journey far beyond India’s borders, tracing artistic lineages shaped by revolution and resistance across Latin America and nNorthern Africa. Presented as a collateral event of the Third Print Biennale of India, the exhibition features a selection from the Boti Llanes family collection, initiated by Dr Llilian Llanes, recipient of Cuba’s National Award for Cultural Research, and curated in India by her daughter, Liliam Mariana Boti Llanes. Bringing together the works of 48 printmaking artists from regions including Mexico, Cuba, Argentina, Brazil, and Chile, the exhibition is rooted in the socio-political upheavals of the 1980s and 1990s. It shows printmaking as both a political and creative tool, with works that weave stories across countries and continents.












