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‘The Wages of Fear’ and ‘Sorcerer’: A Comparison of Different PerspectivesFebruary 10, 2025 Abirbhab Maitra
EssayRobert Eggers’ ‘Nosferatu’ (2024): Changes and Continuity in Vampiric TraditionsJanuary 20, 2025 Kalpa Jyoti Bhuyan
ColumnRelationships in a Small Town in Nuri Bilge Ceylan’s ‘Kasaba’ and ‘Clouds of May’January 19, 2025 Abirbhab Maitra
ColumnA Tribute to David Lynch: An Impenetrable Visionary Who Lit Up The Darkest Recesses of Our MindsJanuary 17, 2025 Julian Malandruccolo
ColumnWhen the Divine Order Embraces Sacred Chaos in Edward Berger’s ‘Conclave’January 14, 2025 Akhila Krishnan
ColumnThe Sweet Ache of Youth: On the Tangled Thrills of ‘Licorice Pizza’January 13, 2025 Tanay Shrotriy
ColumnA Poetic Portraiture of The Working-Class Women in Payal Kapadia’s ‘All We Imagine as Light’January 8, 2025 Soumalya Chatterjee
ColumnStreams of Consequence: Ryusuke Hamaguchi’s Meditation on the Environmental Loss in ‘Evil Does Not Exist’January 6, 2025 Shubham Sharma
ColumnWhy ‘Blink Twice’ (2024) is a Bold but Flawed Exploration of Power, Revenge, and Feminism? January 4, 2025 Ritesh Sharma
ColumnCalling the Spade on Motherhood: 7 Watches and a Read to Cope With the Realities of Being a New MotherJanuary 2, 2025 Nikita Naiknavare
ColumnTangerine (2015): Celebrate Christmas with this Not-So-Typical Holiday FlickDecember 25, 2024 Ritesh Sharma
EssaySex, Power, and Representation: Analyzing Sean Baker’s ‘Anora’ Through Feminist and Auteur LensesDecember 23, 2024 Ritesh Sharma
ColumnA Half-Hearted Endeavor: The Struggle to Portray the Kaleidoscope of Realism in Netflix’s ‘One Hundred Years of Solitude’December 23, 2024 Soumalya Chatterjee
Column26 years of The Blair Witch Project: A Convention-Breaker that Banked on Fear that Crawled into Your Psyche December 20, 2024 Divy Tripathi
Essay American Prometheus: The Triumph of Oppenheimer’s (2023) Screenplay is in Exposing the Failure of Dr. Oppenheimer Ashwani Kumar March 11, 2024
Essay ‘Elemental’ is a tender tale that cannot hide its Male Saviour Complex Deepshikha Deb August 17, 2023
Essay How ‘The Flash’ Resets DC Extended Universe To Make Way For Gunn’s DC Universe? Abhishek Sharma August 12, 2023
Essay Passages and the Cultural Problem of the Death of Sex Scenes in Film Virat Nehru August 7, 2023
Essay The Drive across “Mother-ing Up” & “Daughter-ing Down”: The Multitudinous Complexities of the Mother-Daughter Relationship in Lady Bird (2017) Sreetama Basu August 20, 2024
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High On Films
