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
EssayDestination Moon at Seventy-Five: Reassessing a Pioneering Vision of Space, Science, and EnterpriseJune 28, 2025 Andrew Kidd
EssayThe French Dispatch: or All Great Beauties Withhold Their Deepest Secrets June 28, 2025 Hector Levya
ColumnTalking Through Privilege: The Whit Stillman Trilogy and the Art of Gentle DisillusionmentJune 24, 2025 Talha Younas
ColumnThe Face of Resistance: Sreemoyee Singh’s ‘And, Towards Happy Alleys’ (2023) is a Tribute to Jafar PanahiJune 23, 2025 Arghya Dattagupta
EssayFrom A-Listers to Crew Women, How Hindi Film Industry’s Feminism Rings Hollow Without Basic Dignity June 22, 2025 Sakshi Salil Chavan
ColumnRabid Cities, Abandoned Souls: ‘Black Dog’ (2024) as a Mirror to Modern ChinaJune 18, 2025 Abhay Yadav
ColumnMemory as Resistance: How ‘Hirak Rajar Deshe’ and ‘Chorus’ Speak for the SilencedJune 17, 2025 Ishani Routh
ColumnWhen Grief Haunts More than Ghosts: Exploring Loss in ‘The Devil’s Backbone,’ ‘The Three Burials of Melquiades Estrada,’ & ‘Don’t Look Now’June 17, 2025 Ajay Rahul Raja
EssayThe Crime Behind The Curtain: Looking Back at ‘Yavanika,’ a Cinematic Masterpiece June 16, 2025 Vaishnavi S
ColumnCan HOPE Survive Between TWO INDIAS? Karan Tejpal’s ‘Stolen’ Brilliantly Attempts To Find OutJune 15, 2025 Ayan Dawn
ColumnCharacterising the Space: The Cinematic Space as the Protagonist in ‘Laila Aur Satt Geet’ (2020)June 15, 2025 Sahil
EssayPopular Cinema in India: A Socio-Cultural Analysis of the Indian Cinema and Its Cinematic TropesJune 7, 2025 Santosh Kumar Mamgain
Confluence Of Fractured Existence: The Invisible Thread Connecting Bergman’s “Wild Strawberries” And Ray’s “Nayak”
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
High On Films
