‘Marty Supreme’ and ‘The Smashing Machine’: Dreaming Big and Learning To FailMarch 31, 2026 Shivam Pota
Horror, Commitment Phobia, and Marriage Walk into a Bar: How ‘Something Very Bad Is Going to Happen’ When Love Demands CertaintyMarch 31, 2026 Mukulika Batabyal
What The Law Cannot Hold: Cinema, Trans Lives, and the Limits of Recognition in Contemporary India March 28, 2026 Bipasha Bhattacharyya
Column How ‘Father Mother Sister Brother’ Finds Intimacy in Distance Bipasha Bhattacharyya March 24, 2026March 24, 2026
Essay Apu’s Women: Reading the Novels and the Film Trilogy Against their Historical Canvas Sree March 23, 2026March 24, 2026
Column What Lady Bird Teaches Us About the Cost of Economic Class and Independence? Puja Sinha March 20, 2026March 23, 2026
Column ‘Marty Supreme’ and ‘The Smashing Machine’: Dreaming Big and Learning To Fail Shivam Pota March 31, 2026April 1, 2026
Column · Netflix · Streaming Now Horror, Commitment Phobia, and Marriage Walk into a Bar: How ‘Something Very Bad Is Going to Happen’ When Love Demands Certainty Mukulika Batabyal March 31, 2026April 1, 2026
Column ‘Didn’t Die’ and the Anatomy and Tone of a Modern Zombie Horror Film Akash Deshpande March 28, 2026March 28, 2026
ColumnThe Face of Resistance: Sreemoyee Singh’s ‘And, Towards Happy Alleys’ (2023) is a Tribute to Jafar PanahiJune 23, 2025 Arghya Dattagupta
EssayFrom A-Listers to Crew Women, How Hindi Film Industry’s Feminism Rings Hollow Without Basic Dignity June 22, 2025 Sakshi Salil Chavan
ColumnRabid Cities, Abandoned Souls: ‘Black Dog’ (2024) as a Mirror to Modern ChinaJune 18, 2025 Abhay Yadav
ColumnMemory as Resistance: How ‘Hirak Rajar Deshe’ and ‘Chorus’ Speak for the SilencedJune 17, 2025 Ishani Routh
ColumnWhen Grief Haunts More than Ghosts: Exploring Loss in ‘The Devil’s Backbone,’ ‘The Three Burials of Melquiades Estrada,’ & ‘Don’t Look Now’June 17, 2025 Ajay Rahul Raja
EssayThe Crime Behind The Curtain: Looking Back at ‘Yavanika,’ a Cinematic Masterpiece June 16, 2025 Vaishnavi S
ColumnCan HOPE Survive Between TWO INDIAS? Karan Tejpal’s ‘Stolen’ Brilliantly Attempts To Find OutJune 15, 2025 Ayan Dawn
ColumnCharacterising the Space: The Cinematic Space as the Protagonist in ‘Laila Aur Satt Geet’ (2020)June 15, 2025 Sahil
EssayPopular Cinema in India: A Socio-Cultural Analysis of the Indian Cinema and Its Cinematic TropesJune 7, 2025 Santosh Kumar Mamgain
ColumnDreams on a Train: Psychoanalysis and the Subconscious Journey in Satyajit Ray’s ‘Nayak’ (1966)June 7, 2025 Shivani Muralikrishna
ColumnAnatomy of ‘A War’: Tobias Lindholm’s Unflinching Dissection of WarJune 4, 2025 Soumalya Chatterjee
ColumnQueering the Routes and Roots in the ‘Sancharram’ (The Journey, 2004)June 4, 2025 Dr. Aparna Ajith
Horror, Commitment Phobia, and Marriage Walk into a Bar: How ‘Something Very Bad Is Going to Happen’ When Love Demands Certainty
Column A Temple of Idleness: Why Mallrats (1995) is the Most Sincere Film Among the Slacker Cinema Sebastian Sommer November 6, 2025
Column The Haunting That Lingers: Revisiting the Horror of ‘Lake Mungo’ (2008) Christopher Rhoten November 5, 2025
Column From Slumber to Wakefulness: An Analysis of Sleep and Being Awake in Adoor Gopalakrishnan’s ‘Kodiyettam’ (‘Ascent,’ 1978) Jubin Abraham November 2, 2025
Column Seeing ‘Sir’ Through Dalit Feminist Gaze: Love Amid Inequality Priyanca Ambalvi December 21, 2025