Drifting Between Worlds: Urban Space, Rural Memory, and the Sixth Generation Chinese CinemaMay 3, 2026 Sree
Anatomy of ‘A War’: Tobias Lindholm’s Unflinching Dissection of WarApril 25, 2026 Soumalya Chatterjee
‘Lemonade’ at 10: A Defiant, Politically Charged Album That Still Cuts Through April 25, 2026 Aja Haymore
Column · MUBI · Streaming Now The Proof of Your Existence: On ‘Queen & Slim’ (2019), Anger, Love, and the Meaning of Survival in a Collapsing World Damayanti Saha April 11, 2026April 12, 2026
Essay Dodecatheon in Cinema (or 12 gods, 12 movies) #1: Hermes in ‘Thief’ (1981) Guilherme Quireza April 10, 2026April 11, 2026
Column The Bridge to the Self: A Personal Journey Through Cinema Saba Tsabadze April 9, 2026April 10, 2026
Column Drifting Between Worlds: Urban Space, Rural Memory, and the Sixth Generation Chinese Cinema Sree May 3, 2026May 4, 2026
Column The Making of Film Language: Griffith’s Biograph Years and ‘The Painted Lady’ Sree May 2, 2026May 3, 2026
Column · Prime Video · Streaming Now Anatomy of ‘A War’: Tobias Lindholm’s Unflinching Dissection of War Soumalya Chatterjee April 25, 2026April 25, 2026
ColumnHow ‘Father Mother Sister Brother’ Finds Intimacy in DistanceMarch 24, 2026 Bipasha Bhattacharyya
EssayApu’s Women: Reading the Novels and the Film Trilogy Against their Historical Canvas March 23, 2026 Sree
ColumnWhat Lady Bird Teaches Us About the Cost of Economic Class and Independence?March 20, 2026 Puja Sinha
ColumnA Žižekian Reading of ‘Assi’: Rape, Spectacle and Systemic Violence in Contemporary IndiaMarch 17, 2026 Soumalya Chatterjee
Essay“What’s Done is Done”: The Shift from Ambition to Numbness in 2015’s MacbethMarch 17, 2026 Adam Page
EssayThe Messianic Call to Raw Being: A Cross-Cultural Reading of Pier Paolo Pasolini’s ‘Teorema’ (‘Theorem,’ 1968) and C.P. Padmakumar’s ‘Sammohanam’ (‘Enchantment,’ 1994) March 14, 2026 Jubin Abraham
EssayThe Politics of Love in a Metropolitan Cityscape through Montu Pilot (TV Series 2019)March 11, 2026 Bipasha Bhattacharyya
ColumnWuthering Heights on Film: How Adaptations Repeatedly Lose the Dark Heart of Emily Brontë’s NovelMarch 10, 2026 Shivangi Thakur
EssayEternal Recurrence: Love and Memory in the Philosophy of Living through ‘Eternal Sunshine of the Spotless Mind’March 1, 2026 Bipasha Bhattacharyya
ColumnWhen Reason Becomes a Voice: Masculinity and Power in ‘Alphaville’February 26, 2026 Bipasha Bhattacharyya
Column‘Kennedy’ and the Spectacle of Violence: Cop Cinema, Catharsis, and the Politics of BloodFebruary 24, 2026 Manav
ColumnOn The Functional Intimacy Of Shruti And Bittoo In ‘Band Baaja Baaraat’ (2010)February 22, 2026 Tanay Shrotriy
Column ‘Company Retreat’ and the Appeal of The Peculiar Strain of Meta-Comedies Akash Deshpande April 10, 2026
Column How Daft Punk Take on the Music Industry Through “Interstella 5555” Rafael Jovine April 7, 2026
Column ‘Marty Supreme’ and ‘The Smashing Machine’: Dreaming Big and Learning To Fail Shivam Pota April 1, 2026
Column · Netflix Horror, Commitment Phobia, and Marriage Walk into a Bar: When Love Demands Certainty in ‘Something Very Bad Is Going to Happen’ Mukulika Batabyal April 19, 2026
Essay What The Law Cannot Hold: Cinema, Trans Lives, and the Limits of Recognition in Contemporary India Bipasha Bhattacharyya March 28, 2026
Column ‘Didn’t Die’ and the Anatomy and Tone of a Modern Zombie Horror Film Akash Deshpande March 28, 2026
