NEW DELHI — First comes the melancholy twang of a South Asian sitar, plucking a ballad about nostalgia for childhood. Then the name of a faraway yet familiar place appears on a black screen, in Hindi.
Veera Hiranandani’s “Amil and the After” and Saadia Faruqi’s “The Partition Project” show that the rending of the subcontinent is as relevant and heartbreaking as ever. By Pooja Makhijani Pooja ...
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