When Horror Hurts: Violence, Realism, and Responsibility in ‘Funny Games’ (1997) and ‘When Evil Lurks’ (2023) July 10, 2025 Hannah John
How Faith Ironically Becomes the Real Revolution Against Capitalist Excess in Wes Anderson’s ‘The Phoenician Scheme’ July 10, 2025 Gourab Saha
The Conflict of Reason and Ruin: A Marxist-Psychoanalytic Reading of Ritwik Ghatak’s ‘Jukti Takko Aar Gappo’ Through an Absurdist LensJuly 8, 2025 Ishani Routh
Column The Stars of Aamir Khan: A Comparative Reflection on ‘Taare Zameen Par’ and ‘Sitaare Zameen Par’ Kalpa Jyoti Bhuyan July 7, 2025July 10, 2025
Column Guru Dutt: The Lonely Artist Who Spoke Through Shadows Nishtha Ranjan July 7, 2025July 13, 2025
Essay Fragments of the Forgotten: Memory Loss and the Mystique of Identity in Indian Cinema Anju Devadas July 7, 2025July 10, 2025
Column When Horror Hurts: Violence, Realism, and Responsibility in ‘Funny Games’ (1997) and ‘When Evil Lurks’ (2023) Hannah John July 10, 2025July 10, 2025
Column How Faith Ironically Becomes the Real Revolution Against Capitalist Excess in Wes Anderson’s ‘The Phoenician Scheme’ Gourab Saha July 10, 2025July 10, 2025
Article · EssayRidley Scott’s Gladiator (2000): Hollywood and the Road Always TakenJuly 16, 2024 Shahim Sheikh
EssayBaba Yaga’s Bullet Ballet: John Wick and the Rebirth of Modern Action CinemaJuly 15, 2024 Aadesh Gupta
EssayChandu Champion: Kartik Aaryan Transforms Himself in This Tale of Indian SisyphusJuly 8, 2024 Naina Rathi
When Horror Hurts: Violence, Realism, and Responsibility in ‘Funny Games’ (1997) and ‘When Evil Lurks’ (2023)
How Faith Ironically Becomes the Real Revolution Against Capitalist Excess in Wes Anderson’s ‘The Phoenician Scheme’
Essay Anatomy of a Fall: Confronting Ethics as a Consequence of a Decision-Making Avantika Tewari September 16, 2024
Essay The Open Ending of Masaan: Subversive, Unconventional, Endless Shreya Chauhan September 9, 2024
Essay Dali and Surrealism: Art, Aesthetics and Psychoanalysis Shinji Alizeh Majumder December 5, 2024
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