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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
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
ColumnChanging Terrain of Cinema from India and Achal Mishra’s ‘Gamak Ghar’July 17, 2025 Anand Subhash Borse
EssayThe Fangs of Fear: Exploring Horror and Dread in ‘Jaws’ (1975)July 16, 2025 Krishnanunni Padinjassery
ColumnGuru Dutt at 100: The Enduring Legacy of ‘Pyaasa’ and ‘Kaagaz Ke Phool’July 10, 2025 Srilekha Mitra
ColumnThe 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
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
Article · Essay Ridley Scott’s Gladiator (2000): Hollywood and the Road Always Taken Shahim Sheikh March 2, 2025
Essay Baba Yaga’s Bullet Ballet: John Wick and the Rebirth of Modern Action Cinema Aadesh Gupta July 20, 2024
Essay Chandu Champion: Kartik Aaryan Transforms Himself in This Tale of Indian Sisyphus Naina Rathi July 8, 2024
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