In Bombay, the restless metropolis that houses India’s twelve-billion-dollar Hindi cinema industry, the 1990s were a moment of roiling change. The cultural and visual excesses that had dictated the medium for the last decade were winding down, but the sheen of power and glamour remained. It was in this milieu that the young Bombay-based photographer Ketaki Sheth struck up a friendship with the prominent film critic Khalid Mohamed and found herself in the midst of the vast industry that is now somewhat coarsely referred
