The Soundtrack of Privilege: Here’s How Highest 2 Lowest Uses Music to Divide Class and CultureSeptember 14, 2025 Naveed Zahir
Confluence Of Fractured Existence: The Invisible Thread Connecting Bergman’s “Wild Strawberries” And Ray’s “Nayak” September 14, 2025 Subhankar Das
Lost and Found: Revisiting ‘Kismet’ and the Roots of Indian Social MelodramaSeptember 14, 2025 Manas Banik
Column The North–South Divide in Indian Cinema: Tropes, Stereotypes, and Cultural Missteps Santosh Kumar Mamgain September 6, 2025September 7, 2025
Column How Does Tarantino’s ‘Pulp Fiction’ (1994) Condemn American Nihilism? Georgia May September 5, 2025September 6, 2025
Column How Quentin Tarantino Subverts World War II Narratives through a Postmodern Lens in ‘Inglourious Basterds’? Abirbhab Maitra September 3, 2025September 3, 2025
Column The Soundtrack of Privilege: Here’s How Highest 2 Lowest Uses Music to Divide Class and Culture Naveed Zahir September 14, 2025
Column Confluence Of Fractured Existence: The Invisible Thread Connecting Bergman’s “Wild Strawberries” And Ray’s “Nayak” Subhankar Das September 14, 2025September 14, 2025
Column Our Girlhood Deserves Better Than ‘The Summer I Turned Pretty’ Prerna Chatterjee September 14, 2025September 14, 2025
ColumnAnalyzing the Dreamworld of ‘All of Us Strangers’ through a Freudian LensJuly 27, 2024 Srilekha Mitra
ColumnThe Ruins of Half-Forgotten Dreams in the Films of Nobuhiko ŌbayashiJuly 26, 2024 Srimayee Gangopadhyay
Article · EssayRidley Scott’s Gladiator (2000): Hollywood and the Road Always TakenJuly 16, 2024 Shahim Sheikh
ColumnDepiction of Feminity, Othering, and Masculinity in the Iconic ‘Sex And the City’July 16, 2024 Srilekha Mitra
EssayBaba Yaga’s Bullet Ballet: John Wick and the Rebirth of Modern Action CinemaJuly 15, 2024 Aadesh Gupta
ColumnExploring Intersectionality in a Comedic World of ‘Tangerine’ (2015)July 15, 2024 Purusharth Chawla
ColumnSelling Out – How ‘American Fiction’ Recalls Spike Lee’s ‘Bamboozled’ While Sanitizing its Subversive EdgeJuly 13, 2024 Dorian Griffin
ColumnThe Count of Monte Cristo (2024): Action and Emotion – How to Find the Right Balance?July 10, 2024 Joséphine des Aulnois
EssayChandu Champion: Kartik Aaryan Transforms Himself in This Tale of Indian SisyphusJuly 8, 2024 Naina Rathi
Column“Less of a Man”: Why We Need More Narratives Like ‘Baby Reindeer’ and ‘May December’?June 28, 2024 Oishi Banerjee
EssayLost in Translation: How “Anatomy of a Fall” Captures the Difficulty of Representing RealityJune 22, 2024 David Lobzhanidze
ColumnParis is Burning: The Search for Freedom in Overlapping Systems of OppressionsJune 19, 2024 Purusharth Chawla
ColumnThe Next Big Monster: Why We Should Be Excited About the Upcoming Nosferatu (2024) Remake?June 4, 2024 Joséphine des Aulnois
ColumnWhy Furiosa: A Mad Max Saga is Bombing at the Box Office (And Why It Doesn’t Matter)May 31, 2024 Adil Rahim Hyder
ColumnStill Relevant After All These Years: How “Reality Bites” Captures 90s Nostalgia and Gen X StrugglesMay 28, 2024 Shreya Mariam
Confluence Of Fractured Existence: The Invisible Thread Connecting Bergman’s “Wild Strawberries” And Ray’s “Nayak”
Essay The Universality and Timelessness of One Flew Over the Cuckoo’s Nest Beatrice Gangi February 27, 2024
Awards · Essay How Neeraj Ghaywan’s ‘Masaan’ amplifies its themes through Visual Storytelling Parth Pant July 15, 2024
Article · Essay Love, God and Silence: The Evolution of the Films of Ingmar Bergman Sam Sybert July 14, 2023
Essay Michael Corleone: The Tragic Transformation of Cinema’s Most Complex Anti-Hero Çisemnaz Çil August 27, 2024
Essay How ‘The Exorcist’ Established its Status as an Enduring Horror Classic Arun Kumar July 14, 2023
![A Spike Lee Joint: 25th Hour [2002]](https://www.highonfilms.com/wp-content/uploads/2019/02/site_28_rand_201609877_25th_hour_627.gif)
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