Creating an Ashoke Ganguli of his Own: Irrfan Khan in “The Namesake”November 20, 2025 Ahendrila Goswami
Revisiting ‘Taare Zameen Par’ after reading Carl Honoré’s ‘In Praise of Slowness’November 20, 2025 Ayan Dawn
Strong Women, Strong Stories: How Female Characters Can Captivate AudiencesNovember 19, 2025 Kay Oliver
Column A Man of Many Faces: Remembering the Cinema of Tatsuya Nakadai Arun Kumar November 12, 2025November 17, 2025
Essay The Woman Who Wasn’t There: Her Memory, Her Geography, and the Ghost of Her, in the Cold War (2018) Bipasha Bhattacharyya November 12, 2025November 14, 2025
Column The Magic and Meaning of ‘The Milagro Beanfield War (1988)’: Rediscovering Robert Redford’s Overlooked Masterpiece Kay Oliver November 12, 2025November 14, 2025
Column Creating an Ashoke Ganguli of his Own: Irrfan Khan in “The Namesake” Ahendrila Goswami November 20, 2025November 20, 2025
Column Strong Women, Strong Stories: How Female Characters Can Captivate Audiences Kay Oliver November 19, 2025
Column Intimacy Without Words: The Silent Bonds of ‘Labour of Love’ Gopika Ashokan November 19, 2025November 19, 2025
Column‘Daredevil: Born Again’ as Political Parable – A Superhero Story in the Age of Authoritarianism April 29, 2025 Arijit Paul
ColumnFinding Beauty in the Absurd: An Existential Reading of ‘American Beauty’ (1999)April 29, 2025 Abirbhab Maitra
ColumnVishal Bhardwaj’s ‘Haider’: A Melancholic Symphony of Betrayal, Resistance, and RedemptionApril 28, 2025 Tapolabdha Dey
EssayUnpacking ‘A Minecraft’ Movie: Nostalgia, the Sad State of Modern Blockbusters and Corporate ConsolidationApril 28, 2025 Shivam Pota
EssaySuperboys Of Malegaon (2025): Faiza Ahmad Khan & Nasir Shaikh’s Cinephilic Legacy Finds Home In Bollywood & BeyondApril 24, 2025 Sakshi Salil Chavan
Column · Max · Streaming Now · TVHBO’s The Last of Us Dramatizes A Controversial Death From The Game, And It’s Just As BrutalApril 21, 2025 Debopriyaa Dutta
ColumnTranslating the Self Across Borders of Being in Mira Nair’s ‘The Namesake’April 14, 2025 Tapolabdha Dey
ColumnEchoes of a Life Fading into Silence in Avinash Arun’s ‘Three of Us’ (2023)April 8, 2025 Subhangi Biswas
ColumnIntimacy in The Digital Age: Spike Jonze’s “Her” as a Cinematic Mirror to our Technological Present April 8, 2025 Tapolabdha Dey
EssayThe Art Vs. Artist Discourse: Reassesssing The “separation” Paradigm In FilmApril 4, 2025 Anju Devadas
ColumnCinema as a Path to Transformation: The Power of Film to Shape Identity April 4, 2025 Emily Christine
ColumnRachel Zegler’s ‘Free Palestine’ Tweet Didn’t Kill ‘Snow White’—But Disney Wants You to Think It DidApril 4, 2025 Arghya Dattagupta
ColumnImmigration, Belonging, and the Search for Acceptance in ‘Flow’ (2024) April 2, 2025 Ajay Rahul Raja
ColumnThe Art of Awkwardness: Discomfort as a Storytelling Tool in Jim Jarmusch’s ‘Coffee and Cigarettes’ April 2, 2025 Tapolabdha Dey
ColumnSisterhood on Screen: How ‘Little Women’ Adaptations Capture the Bonds Among WomenApril 2, 2025 Sanjida Samrin Rahman
Essay Transcendental Style as An Idea Of Being in the Filmography of Carlos Reygadas Maria Vatcharadze August 20, 2024
Essay Prem Pujari (1970) – Complicity of Dev Anand’s Stardom in the Construction of Toxic Nationalism and Patriarchal Rules Nikhil Sanghotra November 8, 2023
Essay The Trappings of Nostalgia: On Wooderson, Dazed and Confused, and the Cinema of Richard Linklater Aneesh Raikundalia July 30, 2025
Essay When Auteurism meets Mythology: How Effective is The Killing of a Sacred Deer’s Rendition of Greek Allegory? Aadesh Gupta July 10, 2024
High On Films
