Stitched Souls: Identity and Emotion in Guillermo del Toro’s ‘Frankenstein’ (2025)December 1, 2025 Shivangi Thakur
Buddhadeb Dasgupta’s ‘Swapner Din’ and the Politics of Vanishing IdentitiesNovember 30, 2025 Gourab Saha
Radical Solidarities in Dan Trachtenberg’s ‘Predator: Badlands’: Posthuman Bonds at the Edge of the GalaxyNovember 26, 2025 Sourav Chatterjee
Essay Into the Heart of Darkness: A Trio of Hollywood’s Beautiful Catastrophes Adam Page November 24, 2025November 25, 2025
Column The Physics of Grief in Clint Bentley’s ‘Train Dreams’ Ben Bogdan November 21, 2025November 24, 2025
Column Creating an Ashoke Ganguli of his Own: Irrfan Khan in “The Namesake” Ahendrila Goswami November 20, 2025November 23, 2025
Column The Existential Horror Hidden in Eternity’s Rom-Com Glow Christopher Rhoten December 3, 2025December 3, 2025
Column Stitched Souls: Identity and Emotion in Guillermo del Toro’s ‘Frankenstein’ (2025) Shivangi Thakur December 1, 2025December 2, 2025
Column Blood in Eden: The Ideological Origins of Ryan Coogler’s ‘Sinners’ Dan Flattery December 1, 2025December 2, 2025
ColumnReading Beyond the Silences: What the Different Voices Tell us about Support in “Mrs. Chatterjee Vs. Norway”April 23, 2023 Arpita Chowdhury
EssayThe Eerie and Fantastical Exhibition of Sam Raimi’s The Evil Dead TrilogyApril 18, 2023 Aravind Nair
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
ColumnRoy, Kelly & Rebecca Learn to Set Free From Their Past: A Lesson in Dealing With Our Past VersionsMarch 23, 2023 Akash Deshpande
EssayYou Only Live Once? How Creative Fatigue Plagued the End of the Bond Eras of Pierce Brosnan and Daniel CraigMarch 22, 2023 Joséphine des Aulnois
EssayCharting the Rise of ‘Richsploitation’: The Genre You Don’t Know You LoveMarch 21, 2023 Elliott Kendal
EssayWomen behind the Camera: Examining Space and Gender in Woman with a Movie Camera (2022)March 19, 2023 Krishnanunni Padinjassery
ColumnNate vs Ted Lasso: Evaluating the role of mentorship & leadership, and navigating its rootsMarch 16, 2023 Akash Deshpande
Essay50 Years of Nirmalyam (1973): Timeless, Introspective, and RadicalMarch 9, 2023 Krishnanunni Padinjassery
ColumnBardo, False Chronicle of a Handful of Truths (2022): A Visual Feast on Humanity’s Unsolvable ProblemsMarch 8, 2023 Pouya Aghelizadeh
Essay Why “Hungama Hai Kyon Barpa” is a Near-Perfect Tribute to Its Inspiration Ahendrila Goswami May 8, 2024
Article · Essay Phoenix (2014): “If I Do What You Tell Me, Will You Love Me?” Shahim Sheikh July 14, 2021
Article · Essay Yugant (1995) – Looking at Eco Feminism through the Prism of an Estranged Marriage Debanjan Dhar July 12, 2021
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