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
ColumnFractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (1975) Through a Lacanian Lens in Post-COVID TimesAugust 20, 2025 Ishani Routh
ColumnEmancipation and Labour: An Existentialist Analysis of ‘Mrs.’ (2023) as a Tale of Labour Exploitation August 20, 2025 Santosh Kumar Mamgain
ColumnUnderstanding the Post-Partition Riverscape of Padma in Ghatak’s ‘Komal Gandhar’ (1961)August 18, 2025 Keshab Ray
ColumnThe Art, the Artist, and the Astaire: How ‘The Band Wagon’ (1953) Deconstructs Cinema’s Greatest DancerAugust 18, 2025 Jack Keating
ColumnCaste Was Never Part of My Story Until It Was: Featuring ‘Dhadak 2’ (2025)August 16, 2025 Sneha Roy
ColumnGirls Just Like to Swing! My Observations and Reflections on Mira Nair’s ‘India Cabaret’ August 15, 2025 Nayan Jain
ColumnThe Real Rage Virus: 28 Years Later and Dreams of Nationalist NostalgiaAugust 15, 2025 Dan Flattery
ColumnWeapons of the American Dream: How Zach Cregger’s Weapons (2025) Reflects Today’s RealityAugust 13, 2025 Deepshikha Deb
ColumnCinema through the Lens of ‘Breathless’ (1960): Girls, Guns, and the Ghosts of Paris August 7, 2025 Naman Kumar
ColumnThe Return of ‘Chaotic Women’ in Indian Independent Cinema August 6, 2025 Bipasha Bhattacharyya
Confluence Of Fractured Existence: The Invisible Thread Connecting Bergman’s “Wild Strawberries” And Ray’s “Nayak”
Essay Fragments of the Forgotten: Memory Loss and the Mystique of Identity in Indian Cinema Anju Devadas August 30, 2025
Essay Destination Moon at Seventy-Five: Reassessing a Pioneering Vision of Space, Science, and Enterprise Andrew Kidd June 29, 2025
Essay The French Dispatch: or All Great Beauties Withhold Their Deepest Secrets Hector Levya July 4, 2025
Essay From A-Listers to Crew Women, How Hindi Film Industry’s Feminism Rings Hollow Without Basic Dignity Sakshi Salil Chavan June 22, 2025
Essay The Crime Behind The Curtain: Looking Back at ‘Yavanika,’ a Cinematic Masterpiece Vaishnavi S June 24, 2025
Essay Popular Cinema in India: A Socio-Cultural Analysis of the Indian Cinema and Its Cinematic Tropes Santosh Kumar Mamgain August 4, 2025
Essay Paul Thomas Anderson’s Psychological Prowess through the Lens of his Most Problematic Picture Hector Levya June 9, 2025
Essay · Featured The Avenging Woman: The Politics and Aesthetics of Female Rage in Rape-Revenge Cinema Anju Devadas September 2, 2025
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