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
ColumnBeyond Representation: Genuine Storytelling in Contemporary Coming-of-Age CinemaMarch 30, 2025 Tapolabdha Dey
ColumnIndian Adaptations of ‘Romeo and Juliet’: Fidelity, Creativity, and Cultural TransformationMarch 22, 2025 Vasundhara Parashar
EssayWhy Women Centric Films in Hindi Cinema are not Necessarily Feminist Films?March 20, 2025 Santosh Kumar Mamgain
Column · Netflix · Streaming NowA Bold New Vision: Why the 2022 ‘Persuasion’ Needs More Love?March 18, 2025 Sanjida Samrin Rahman
ColumnHow “Paterson” and His Major Moment of Synchronicity Became My OwnMarch 17, 2025 Bobbi Campbell
ColumnThe Eternal Cycle: Samsara and Symbolism in ‘Spring, Summer, Fall, Winter… and Spring’ March 17, 2025 Srimayee Gangopadhyay
EssayI Speak in Three Languages, Write in Two, Love in One: ‘Lootera’ and Romance in Vernacular March 15, 2025 Damayanti Ghosh
ColumnWim Wenders: The Journeys through Solitude and the Search for Meaning March 6, 2025 Srilekha Mitra
EssaySexual Violence and the Objectification of Women in Hindi CinemaFebruary 18, 2025 Santosh Kumar Mamgain
ColumnWho is the Mysterious Janitor? Unraveling Identity and Loneliness in ‘I’m Thinking of Ending Things’ (2020)February 17, 2025 Abirbhab Maitra
Column‘Wicked’ and the Jim Crow Era: Unmasking the Parallels of Prejudice and PowerFebruary 14, 2025 Aja Haymore
ColumnNeo-Kolkata Triptych? A Cinematic Inquiry into a Decaying MetropolisFebruary 13, 2025 Soumalya Chatterjee
Essay Adulthood is Learning Vulnerability: An Analysis of Kiki’s Delivery Service (1989) Beatrice Gangi October 7, 2023
Essay Concept, Rhythm, and Horror: Oppenheimer as an Accumulation of Nolan’s Filmography Aadesh Gupta August 21, 2024
Essay Why is ‘The Black Cauldron’ Disney’s Missed Horror Masterpiece? Beatrice Gangi September 5, 2023
Essay Revelation as Paradox: Oppenheimer and the Criticality of Scientific Reason Shaswata Ray August 21, 2024
Essay Where the Crawdads Sing (2022): Embark On A Scenic Trip Into The Marshland With Kya Poonam Vaze August 31, 2023
High On Films
