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“I wanted the possibility of co-creating a conversation between the film and the audience,” says Paromita Vohra, filmmaker, writer and founder of Agents of Ishq, a multimedia project on love, sex and sexual politics in India.

On December 3rd, 2025 Jorge Rivera Herrans released a snippet of “Pride of Troy”, one of the many themed songs that will make it to his new album, Ilium, a musical adaptation of the Trojan War. It will be another Greek retelling of a tale heard time and again, only now with the wit, music, and contemporary tongue Herrans offers with his pieces. Given the success of his EPIC: The Musical, it is only fair that expectations run high, and for the right reasons. Herrans’ famed EPI

I’m waiting for Fair is Foul, a production staged by The Green Room, Ashoka University’s theatre club, to begin. Pitched as an anthology play featuring women through history who defied convention, the poster featured a triptych of heroines bathed in resplendent lighting.

I found out about Baggage Claim’s existence in the most fitting way possible — by stumbling across a shoot.

I Won’t Wait is a student-made feature screened on 15th November 2025 under Film Fataka, Ashoka’s film festival for student films. Directed by Aritra Mukhopadhyay (UG'27) with Assistant Director Nayantara Pal (UG'28), it follows Ron, played by Vishwa Krishnan (UG’28) and Abir, played by Liam Munshi (UG’28), as they set up an underground boxing club on campus.

Pratyush Mishra (UG’27), an aspiring filmmaker who enjoys singing and acting, was inspired by films such as Black Swan (2010), Phantom Thread (2017), and Whiplash (2014) when he wrote the play Hum Nachte Kyun Hain? (“Why do we dance?”). “I had always wanted to write a story about an artist, how they feel for their art, and why they do their art.”

From the moment that I was let into the Black Box, it was clear that this Bernarda Alba was built on subtraction.

On 18th December, For I Have Sinned, an original theatrical production directed by Zahabiya Ghodhrawala (UG’25) and Vaibhavi Kumari (UG’25), was performed at the White Box Theatre. Brought to life by Ashoka’s theatre club, The Green Room, the entire team worked together to stage a blood-soaked, witty horror piece.

Once in a while, a film reminds you of our collective humanity, forcing us to enquire about the world and the life we live, shaking us awake. Homebound (2025), directed by Neeraj Ghaywan, is one such film.

Mother Mary Comes To Me insists that it is an article of dissent. From its flaming red hardcover gazes a young Arundhati Roy, beedi in mouth—a brand aesthetic around a politics of defiance, carefully curated by designers at the publishing giant, Penguin.