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Nandita Das's "Manto" is a meticulous retelling of the life of the eponymous storyteller. Saadat Hasan Manto's unequivocal approach as a writer, his personal steadfastness, clairsentience, and overwhelming grief of dislocation have been depicted remarkably well in the movie. Manto's transition from a jovial young man to a self destructive addict amidst the accruing social strife surrounding him is poignantly presented by the director supported by the absolutely superlative cast of the film. The two strands of the narrative foregrounding the life of Manto and the essence of a few of his greatest works have been seamlessly woven along with the unspoken suggestion in the background of the painful relevance of these stories even to this day in a hostile world revelling in exploitation, fear, unwarranted suspicion, hatred and xenophobia.

A show you can watch to waste your precious time and dissipate your intellect by your gracious indulgence for frivolous gossips amongst the host and his repetitive group of guests every season (95% of the episodes involve commercial movie stars, majority of who belong to the film industry by being born into the few clans that populate the hereditary movie business of the country. Oblivious of anything else in the world other than their own narrow circle of friends and materialistic aspirations, these megalomaniac "stars" reveal their shallowness being coaxed to do so by the delusional host, a nepotistic poseur who makes inane films draped in the meretriciousness of peppy numbers, designer wear and foreign locations.)