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
EssayThe Rajinikanth Effect: How Thalaivar’s Meteoric Charm Forged A Cultural PhenomenonAugust 5, 2025 Anju Devadas
ColumnThe Mockery of National Awards: The Fiasco of the 71st National Awards and What it Holds for the FutureAugust 3, 2025 Santosh Kumar Mamgain
EssayBeyond Bloodlines: Reimagining Kinship And Childhood In Hirokazu Kore-eda’s Cinema July 31, 2025 Anju Devadas
ColumnWhy do all the Contemporary Villains Sound Like They’ve Read Camus? July 30, 2025 Bipasha Bhattacharyya
ColumnThe Pain of Silent Departures and the Turmoil That Lingers Within: Thoughts on G.Aravindan’s Pokkuveyil (1982, Twilight)July 30, 2025 Rugmini Dinu
EssayHaunting Silences And Moral Reckonings: Gender, Guilt, And Redemption In G. Aravindan’s ‘Chidambaram’ (1985)July 28, 2025 Anju Devadas
ColumnThe Horror of the Unseen: How the 1999 Movie ‘The Blair Witch Project’ Redefined FearJuly 24, 2025 Em Stonham
ColumnThrough the Lens of Love and Longing: Revisiting Kieślowski’s ‘A Short Film About Love’July 21, 2025 Rugmini Dinu
Column‘The Ugly Stepsister’ (2025) and the Cost of Becoming ‘Beautiful Enough’July 21, 2025 Aja Haymore
ColumnWhen Horror Hurts: Violence, Realism, and Responsibility in ‘Funny Games’ (1997) and ‘When Evil Lurks’ (2023) July 20, 2025 Hannah John
ColumnHow Faith Ironically Becomes the Real Revolution Against Capitalist Excess in Wes Anderson’s ‘The Phoenician Scheme’ July 20, 2025 Gourab Saha
EssayLolita’s Daughters: Innocence, Eroticism, And Cinematic Obsession With The NymphetJuly 19, 2025 Anju Devadas
Confluence Of Fractured Existence: The Invisible Thread Connecting Bergman’s “Wild Strawberries” And Ray’s “Nayak”
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
Essay The Art Vs. Artist Discourse: Reassesssing The “separation” Paradigm In Film Anju Devadas September 2, 2025
Essay Why Women Centric Films in Hindi Cinema are not Necessarily Feminist Films? Santosh Kumar Mamgain August 23, 2025
Essay I Speak in Three Languages, Write in Two, Love in One: ‘Lootera’ and Romance in Vernacular Damayanti Ghosh March 15, 2025
Essay Sexual Violence and the Objectification of Women in Hindi Cinema Santosh Kumar Mamgain March 8, 2025
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