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
EssayThere Will Be Blood (2007): The Fundamentals of Business From Daniel PlainviewJanuary 29, 2024 Balaganesh Kothapalli
ColumnTi West’s “X” And The Viciousness Of Aging Women In The Horror LandscapeJanuary 24, 2024 Beatrice Gangi
Column‘Saltburn’ and the Case of Missing Perspective: Omitting for the Sake of SuspenseJanuary 21, 2024 Marvel Maximus
EssayComparing the Characters of ‘Omkara’ to the Dramatis Personae of Shakespeare’s ‘Othello’ January 20, 2024 Vaani Udasi
EssaySeeing Beyond the Sores: Unmasking Leprosy in the Malayalam Films Ashwamedham and Sarasayya January 20, 2024 Dr. Aparna Ajith
ColumnHow Netflix is Recreating the “Snyder Cut” Phenomenon with Rebel Moon? December 30, 2023 Adil Rahim Hyder
ColumnPlacing “A Girl Walks Home Alone At Night” within “The Girls of Revolution Street” Protests of IranDecember 24, 2023 Martha Bird
ColumnOn Healing and Coping: How ‘Mysterious Skin’ Succeeds in Portraying Abuse StoriesDecember 24, 2023 Federica Giampaolo
ColumnWhy Punch-Drunk Love (2002) is the Greatest Romcom of All Time? December 14, 2023 Ritesh Sharma
ColumnThe Success of “Animal” Speaks to the Broader Pervasiveness That’s Sheathed Over The National Conscience December 14, 2023 Aryan Vyas
EssayTranscendental Style as An Idea Of Being in the Filmography of Carlos Reygadas December 11, 2023 Maria Vatcharadze
Confluence Of Fractured Existence: The Invisible Thread Connecting Bergman’s “Wild Strawberries” And Ray’s “Nayak”
Essay Celebrating Secularism With Shahrukh Khan’s Pathaan (2023) Balaganesh Kothapalli February 22, 2023
Essay Discovering Steven Spielberg’s Magic: Why The Fabelmans and Close Encounters of the Third Kind Should be a Double Bill Rob Jones February 23, 2023
Essay Analysing the ‘New’ in Malayalam’s New-Generation Buddy Movies: Rani Padmini (2015) and Super Sharanya (2022) Krishnanunni Padinjassery February 21, 2023
Essay From DDLJ to Rab Ne: How Aditya Chopra Created & Dismantled The On-Screen Persona of SRK’s Raj Aryan Vyas February 15, 2023
Essay The Seasons of Time: An Introduction To Post-Love Era, Based on Spike Jonze’s Her High on Films May 29, 2024
High On Films
