Architects of the State: Political Allegory and Allegiance in ‘The Brutalist’ October 18, 2025 Dan Flattery
The Curse of Conformity: The Quiet Rebellion of Radha in ‘Holy Curse’October 17, 2025 Bipasha Bhattacharyya
Essay Control, Possession and Murder: The Power-Dynamics in Hitchcock’s Rope (1948) Bella Madge October 15, 2025October 15, 2025
Column Hong Kong in Transit: Love, Loss, and Belonging in ‘Chungking Express’ Sayantani Datta October 14, 2025October 20, 2025
Column Dehumanization, Fear, and Power: Unpacking Xenophobia in Scorsese’s ‘Gangs of New York’ Subhankar Das October 14, 2025October 20, 2025
Column Architects of the State: Political Allegory and Allegiance in ‘The Brutalist’ Dan Flattery October 18, 2025October 18, 2025
Column The Curse of Conformity: The Quiet Rebellion of Radha in ‘Holy Curse’ Bipasha Bhattacharyya October 17, 2025October 17, 2025
Column The Smashing Machine: The Many Faces of Dwayne ‘The Rock’ Johnson Charlie Gaskell October 17, 2025October 17, 2025
ColumnBeyond Statistics: How Ray’s ‘Ashani Sanket’ Resurrects the 1943 Bengal FamineAugust 31, 2025 Sumedha Chatterjee
ColumnThe Optical Residue of a Nation: Fragments from Route One USA (1989)August 29, 2025 Pulkit Sharma
ColumnHow Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost in Translation’ Turned Loneliness Into CinemaAugust 29, 2025 Sumedha Chatterjee
ColumnHigh Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music August 28, 2025 Aja Haymore
ColumnGuru Dutt’s Bombay Noir and Anguish Regarding the Emergent Urbanity August 25, 2025 Damayanti Ghosh
ColumnLong Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated ComedyAugust 23, 2025 Naveed Zahir
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
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
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
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