Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
There was a time when Tillotama Shome’s dream of owning a specific car was laughed off not by strangers, but by a director she worked with. Speaking to The Hollywood Reporter India, the actor, known for her strong, nuanced performances in films and shows like Paatal Lok, Delhi Crime, and Sir, recalled a moment early in her career that stung more than she expected.
During a casual chat at a wrap party, when someone asked the team what they were currently longing for, Tillotama mentioned a car she’d set her heart on. She believed that if she got the right project, paid well enough, she could afford it. That’s when the director, who had paid her poorly for the project, cut in and told her point-blank: “You’ll never make that kind of money. You’re talented, yes, but the industry doesn’t work that way.”
The words stayed with her and not because they came from a place of malice, but because they reflected the limits many try to place on actors like her, especially those who don’t chase stardom or play to the industry’s usual metrics of success.
Years later, she found herself at a crossroads. She was offered a role that excited her creatively more than anything she’d done before. It was the kind of part that actors wait years for. But instead of settling, she spent months negotiating her fee determined to be paid double the amount she once spoke about at that party.
And once she closed the deal, she sent a message to that same director, letting him know exactly how much she’d earned. Not to gloat, but to make a point. “You should know before you tell another actor what they can or can’t do,” she wrote.
Tillotama Shome and Jim Sarbh at a recent interview where she reflected on a turning point in her journeyYoutube/The Hollywood Reporter
Tillotama’s story here isn’t just about one role or one cheque. It’s about refusing to accept what others decide your worth is. Her journey starting from Monsoon Wedding to her recent Berlin-premiered film Shadowbox shows us that persistence, self-belief, and quietly proving people wrong can be the most powerful form of payback.
Amar Kanwar is getting a huge London show in 2026.
Will host a site-specific, immersive installation.
Feature both new and existing films, transforming the entire building.
A new catalogue will feature unpublished writings and a long interview.
Indian filmmaker and artist Amar Kanwar, a quiet but monumental figure in contemporary art, is getting a major retrospective at Serpentine North. Slated for September 2026 to January 2027, this Serpentine Gallery retrospective won’t be a standard exhibition. It’s being conceived as a complete, site-specific art installation that will turn the gallery into what organisers call a “meditative visual and sonic environment.”
Amar Kanwar’s immersive films and installations will fill Serpentine North next year Instagram/paolamanfredistudio
What can visitors expect from this retrospective?
Don’t walk in expecting to just sit and watch a screen. Kanwar’s work has never been that simple. The plan is to use the entire architecture of Serpentine North, weaving his films into the very fabric of the space.Yeah, the Serpentine's been tracking his work for years. He was in that 'Indian Highway ' show back in 2008. Turns out that was just the start.
What it is about his work that gets under your skin?
He looks at the hard stuff. Violence. Justice. What we’re doing to the land. But he does it with a poet’s eye. That’s his thing. And it’s put him on the map. You see his work at big-league museums like the Tate, the Met. He’s a fixture at major shows like Documenta. You don't get invited back that many times by chance. His work just has that weight. His art isn’t easy viewing; it asks for your patience and focus. The upcoming Serpentine show is being built specifically to pull you into that slow, deep way of looking.
Alongside the films, the Serpentine will publish a significant catalogue. It’s not just a collection of images. It will feature a trove of Kanwar’s previously unpublished writings, giving a deeper look into his process. The book will also contain an extensive interview between the artist and the Serpentine’s artistic director, Hans Ulrich Obrist.
The gallery is betting big on an artist who works quietly, but whose impact resonates for years. As one staffer put it, they’re preparing for an installation that changes how you see, and hear, everything.
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