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Confluence Of Fractured Existence: The Invisible Thread Connecting Bergman’s “Wild Strawberries” And Ray’s “Nayak” September 14, 2025 Subhankar Das
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Column The North–South Divide in Indian Cinema: Tropes, Stereotypes, and Cultural Missteps Santosh Kumar Mamgain September 6, 2025September 7, 2025
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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
ColumnIs American Auto the Heir to the Office as the Great American Work Place Comedy?May 13, 2023 Orrin Konheim
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EssayOn Race Relations & Queerness in Todd Haynes’ Far From Heaven (2002)April 12, 2023 Jeffrey Davies
ColumnThe Dominance of the South Indian Films: Are We Witnessing a Fundamental Shift or A Passing Cycle?April 12, 2023 Arjun Niyogi
EssaySearching for the Local Übermencsch: Joel Grey in ‘Man on a Swing’ (1974)April 12, 2023 Vassilis Kroustallis
ColumnThe Magical Realism of Pan’s Labyrinth & The Redefinition of RealityApril 9, 2023 Beatrice Gangi
EssayRosemary’s Baby (1968): Rethinking the Monstrous Mother in Popular CultureMarch 30, 2023 Ankita Sen
Confluence Of Fractured Existence: The Invisible Thread Connecting Bergman’s “Wild Strawberries” And Ray’s “Nayak”
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