When Horror Hurts: Violence, Realism, and Responsibility in ‘Funny Games’ (1997) and ‘When Evil Lurks’ (2023) July 10, 2025 Hannah John
How Faith Ironically Becomes the Real Revolution Against Capitalist Excess in Wes Anderson’s ‘The Phoenician Scheme’ July 10, 2025 Gourab Saha
The Conflict of Reason and Ruin: A Marxist-Psychoanalytic Reading of Ritwik Ghatak’s ‘Jukti Takko Aar Gappo’ Through an Absurdist LensJuly 8, 2025 Ishani Routh
Column The Stars of Aamir Khan: A Comparative Reflection on ‘Taare Zameen Par’ and ‘Sitaare Zameen Par’ Kalpa Jyoti Bhuyan July 7, 2025July 10, 2025
Column Guru Dutt: The Lonely Artist Who Spoke Through Shadows Nishtha Ranjan July 7, 2025July 13, 2025
Essay Fragments of the Forgotten: Memory Loss and the Mystique of Identity in Indian Cinema Anju Devadas July 7, 2025July 10, 2025
Column When Horror Hurts: Violence, Realism, and Responsibility in ‘Funny Games’ (1997) and ‘When Evil Lurks’ (2023) Hannah John July 10, 2025July 10, 2025
Column How Faith Ironically Becomes the Real Revolution Against Capitalist Excess in Wes Anderson’s ‘The Phoenician Scheme’ Gourab Saha July 10, 2025July 10, 2025
EssayUnpacking ‘A Minecraft’ Movie: Nostalgia, the Sad State of Modern Blockbusters and Corporate ConsolidationApril 28, 2025 Shivam Pota
EssaySuperboys Of Malegaon (2025): Faiza Ahmad Khan & Nasir Shaikh’s Cinephilic Legacy Finds Home In Bollywood & BeyondApril 24, 2025 Sakshi Salil Chavan
EssayThe Art Vs. Artist Discourse: Reassesssing The “separation” Paradigm In FilmApril 4, 2025 Anju Devadas
EssayWhy Women Centric Films in Hindi Cinema are not Necessarily Feminist Films?March 20, 2025 Santosh Kumar Mamgain
EssayI Speak in Three Languages, Write in Two, Love in One: ‘Lootera’ and Romance in Vernacular March 15, 2025 Damayanti Ghosh
EssaySexual Violence and the Objectification of Women in Hindi CinemaFebruary 18, 2025 Santosh Kumar Mamgain
EssayRobert Eggers’ ‘Nosferatu’ (2024): Changes and Continuity in Vampiric TraditionsJanuary 20, 2025 Kalpa Jyoti Bhuyan
When Horror Hurts: Violence, Realism, and Responsibility in ‘Funny Games’ (1997) and ‘When Evil Lurks’ (2023)
How Faith Ironically Becomes the Real Revolution Against Capitalist Excess in Wes Anderson’s ‘The Phoenician Scheme’
Essay Unpacking ‘A Minecraft’ Movie: Nostalgia, the Sad State of Modern Blockbusters and Corporate Consolidation Shivam Pota May 6, 2025
Essay Superboys Of Malegaon (2025): Faiza Ahmad Khan & Nasir Shaikh’s Cinephilic Legacy Finds Home In Bollywood & Beyond Sakshi Salil Chavan April 24, 2025
Essay The Fear of Loneliness and End of Reason in Kiyoshi Kurosawa’s ‘Cure’ Andrew Kidd April 14, 2025
Essay The Art Vs. Artist Discourse: Reassesssing The “separation” Paradigm In Film Anju Devadas April 4, 2025
Essay Why Women Centric Films in Hindi Cinema are not Necessarily Feminist Films? Santosh Kumar Mamgain March 20, 2025
Essay I Speak in Three Languages, Write in Two, Love in One: ‘Lootera’ and Romance in Vernacular Damayanti Ghosh March 15, 2025
Essay Sexual Violence and the Objectification of Women in Hindi Cinema Santosh Kumar Mamgain March 8, 2025
High On Films
