Drifting Between Worlds: Urban Space, Rural Memory, and the Sixth Generation Chinese CinemaMay 3, 2026 Sree
Anatomy of ‘A War’: Tobias Lindholm’s Unflinching Dissection of WarApril 25, 2026 Soumalya Chatterjee
‘Lemonade’ at 10: A Defiant, Politically Charged Album That Still Cuts Through April 25, 2026 Aja Haymore
Column · MUBI · Streaming Now The Proof of Your Existence: On ‘Queen & Slim’ (2019), Anger, Love, and the Meaning of Survival in a Collapsing World Damayanti Saha April 11, 2026April 12, 2026
Essay Dodecatheon in Cinema (or 12 gods, 12 movies) #1: Hermes in ‘Thief’ (1981) Guilherme Quireza April 10, 2026April 11, 2026
Column The Bridge to the Self: A Personal Journey Through Cinema Saba Tsabadze April 9, 2026April 10, 2026
Column Drifting Between Worlds: Urban Space, Rural Memory, and the Sixth Generation Chinese Cinema Sree May 3, 2026May 4, 2026
Column The Making of Film Language: Griffith’s Biograph Years and ‘The Painted Lady’ Sree May 2, 2026May 3, 2026
Column · Prime Video · Streaming Now Anatomy of ‘A War’: Tobias Lindholm’s Unflinching Dissection of War Soumalya Chatterjee April 25, 2026April 25, 2026
ColumnFourth Wall Break in Cinema and Its Relationship with Brechtian Dramaturgy September 2, 2025 Subhankar Das
ColumnBeyond Statistics: How Ray’s ‘Ashani Sanket’ Resurrects the 1943 Bengal FamineAugust 31, 2025 Sumedha Chatterjee
ColumnThe Optical Residue of a Nation: Fragments from Route One USA (1989)August 29, 2025 Pulkit Sharma
ColumnHow Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost in Translation’ Turned Loneliness Into CinemaAugust 29, 2025 Sumedha Chatterjee
ColumnHigh Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music August 28, 2025 Aja Haymore
ColumnGuru Dutt’s Bombay Noir and Anguish Regarding the Emergent Urbanity August 25, 2025 Damayanti Ghosh
ColumnLong Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated ComedyAugust 23, 2025 Naveed Zahir
ColumnFractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (1975) Through a Lacanian Lens in Post-COVID TimesAugust 20, 2025 Ishani Routh
ColumnEmancipation and Labour: An Existentialist Analysis of ‘Mrs.’ (2023) as a Tale of Labour Exploitation August 20, 2025 Santosh Kumar Mamgain
ColumnUnderstanding the Post-Partition Riverscape of Padma in Ghatak’s ‘Komal Gandhar’ (1961)August 18, 2025 Keshab Ray
ColumnThe Art, the Artist, and the Astaire: How ‘The Band Wagon’ (1953) Deconstructs Cinema’s Greatest DancerAugust 18, 2025 Jack Keating
ColumnCaste Was Never Part of My Story Until It Was: Featuring ‘Dhadak 2’ (2025)August 16, 2025 Sneha Roy
Column When Violence Becomes the Hero: Inside India’s New Wave of Adult-Rated Films Santosh Kumar Mamgain December 26, 2025
Essay Where Monsters Become Human: Identity and Otherness in ‘Nimona’ and ‘K-Pop Demon Hunters’ Nileena Sunil December 25, 2025
Column · Netflix · Streaming Now The Cheesecake Dilemma at the Heart of the Fellini-esque ‘Jay Kelly’ Akash Deshpande December 24, 2025
Column ‘Sentimental Value’ and Art’s Interjection into Life as a Mode of Catharsis Akash Deshpande December 24, 2025
Article Better Than a ‘Hot Priest’: Why Josh O’Connor’s Flawed, Cursing Clergyman is a Radical Political Statement Naveed Zahir December 23, 2025
Column Beyond Empathy: Homayoun Ershadi and the Radical Minimalism of ‘Taste of Cherry’ Shefali Khan December 21, 2025
Essay Harmony as Auteurism: Understanding the Impact of Director-Composer Collaborations Eshiv Garg December 21, 2025
Column Shared Guilt and Divergent Fates: Why ‘Dies Irae’ Feels Like Psycho’s Distant Cousin Gourab Saha December 21, 2025
