How Dwayne ‘The Rock’ Johnson’s Professional Wrestling Career Can Inform the Future of His Acting Days February 2, 2026 Hayyan Khawaja
Beyond the Binary of Disclosure: A Materialist Becoming of Intimacy in the Male-Male Dynamic of Sanjay Nag’s Memories in March (2010)January 29, 2026 Sohini Dasgupta
Why “The Hitchhiker’s Guide to the Galaxy” Is an Unlikely Comfort Movie?January 23, 2026 Oleksandra Kolosovska
Column ‘Titli’ and the Fragile Dream of Becoming Free in Contemporary India Bipasha Bhattacharyya January 19, 2026January 19, 2026
Column Sartorial Storytelling and Bacchanalian Rites: Intertextuality and Social Stratification in Luhrmann’s ‘The Great Gatsby’ Vasundhara Parashar January 16, 2026January 17, 2026
Column Bound By Obsession: The Mutually Assured Destruction of Mozart and Salieri in ‘Amadeus’ Bella Madge January 16, 2026January 17, 2026
Column How Dwayne ‘The Rock’ Johnson’s Professional Wrestling Career Can Inform the Future of His Acting Days Hayyan Khawaja February 2, 2026February 3, 2026
Column Beyond the Binary of Disclosure: A Materialist Becoming of Intimacy in the Male-Male Dynamic of Sanjay Nag’s Memories in March (2010) Sohini Dasgupta January 29, 2026January 29, 2026
Column Why “The Hitchhiker’s Guide to the Galaxy” Is an Unlikely Comfort Movie? Oleksandra Kolosovska January 23, 2026January 23, 2026
ColumnWhy ‘Blink Twice’ (2024) is a Bold but Flawed Exploration of Power, Revenge, and Feminism? January 4, 2025 Ritesh Sharma
ColumnCalling the Spade on Motherhood: 7 Watches and a Read to Cope With the Realities of Being a New MotherJanuary 2, 2025 Nikita Naiknavare
ColumnTangerine (2015): Celebrate Christmas with this Not-So-Typical Holiday FlickDecember 25, 2024 Ritesh Sharma
EssaySex, Power, and Representation: Analyzing Sean Baker’s ‘Anora’ Through Feminist and Auteur LensesDecember 23, 2024 Ritesh Sharma
ColumnA Half-Hearted Endeavor: The Struggle to Portray the Kaleidoscope of Realism in Netflix’s ‘One Hundred Years of Solitude’December 23, 2024 Soumalya Chatterjee
Column26 years of The Blair Witch Project: A Convention-Breaker that Banked on Fear that Crawled into Your Psyche December 20, 2024 Divy Tripathi
ColumnDirge of Resistance: Unveiling Patriarchy and Power in ‘Mirch Masala’ (1987)December 13, 2024 Soumalya Chatterjee
EssayWatchmen: The Often-Overlooked Differences Between Zack Snyder’s Movie and Alan Moore’s Graphic NovelDecember 3, 2024 Mohan Kumar
ColumnFrom Cannes to the Commons: Why Fargeat’s ‘The Substance’ Reflects The Liberal Paralysis?November 30, 2024 Shubham Sharma
ColumnHow Prem Kumar’s ‘Meiyazhagan’ Offers a Heartfelt Journey of Rediscovery, Connection, and Healing?November 25, 2024 Sayan Dutta
ColumnA Perspective on Fate, Chance, and Meaningful Connections in ‘Serendipity’ (2001)November 22, 2024 Janani Vaiyapuri
ColumnThe Decline of Integrity in National Film Awards: Politics, Controversies, and Compromised ExcellenceNovember 21, 2024 Santosh Kumar Mamgain
ColumnDeath Becomes Her: How The OG ‘Substance’ Succeeds Where its Successor FaltersNovember 20, 2024 Jamie Carlstrand
ColumnThe Perfect Intersectional Gay Romance in ‘God’s Own Country’November 20, 2024 Ayrton-Lewis Avery
How Dwayne ‘The Rock’ Johnson’s Professional Wrestling Career Can Inform the Future of His Acting Days
Beyond the Binary of Disclosure: A Materialist Becoming of Intimacy in the Male-Male Dynamic of Sanjay Nag’s Memories in March (2010)
Column The Optical Residue of a Nation: Fragments from Route One USA (1989) Pulkit Sharma August 30, 2025
Column How Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost in Translation’ Turned Loneliness Into Cinema Sumedha Chatterjee August 30, 2025
Column High Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music Aja Haymore August 28, 2025
Column Guru Dutt’s Bombay Noir and Anguish Regarding the Emergent Urbanity Damayanti Ghosh August 25, 2025
Column Long Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated Comedy Naveed Zahir August 23, 2025
Column Fractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (1975) Through a Lacanian Lens in Post-COVID Times Ishani Routh September 16, 2025
Column Emancipation and Labour: An Existentialist Analysis of ‘Mrs.’ (2023) as a Tale of Labour Exploitation Santosh Kumar Mamgain August 31, 2025
Column Understanding the Post-Partition Riverscape of Padma in Ghatak’s ‘Komal Gandhar’ (1961) Keshab Ray September 5, 2025