What The Law Cannot Hold: Cinema, Trans Lives, and the Limits of Recognition in Contemporary India March 28, 2026 Bipasha Bhattacharyya
Apu’s Women: Reading the Novels and the Film Trilogy Against their Historical Canvas March 23, 2026 Sree
Column What Lady Bird Teaches Us About the Cost of Economic Class and Independence? Puja Sinha March 20, 2026March 23, 2026
Column ‘If I Had Legs I’d Kick You’ and the Loneliness of Being a Mother Prapti Alam March 17, 2026March 19, 2026
Column A Žižekian Reading of ‘Assi’: Rape, Spectacle and Systemic Violence in Contemporary India Soumalya Chatterjee March 17, 2026March 19, 2026
Column ‘Didn’t Die’ and the Anatomy and Tone of a Modern Zombie Horror Film Akash Deshpande March 28, 2026March 28, 2026
Column Treasure Planet, or the Refusal to Give Up on the Lost Guilherme Quireza March 26, 2026March 26, 2026
Column How ‘Father Mother Sister Brother’ Finds Intimacy in Distance Bipasha Bhattacharyya March 24, 2026March 24, 2026
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
ColumnThe Stars of Aamir Khan: A Comparative Reflection on ‘Taare Zameen Par’ and ‘Sitaare Zameen Par’July 7, 2025 Kalpa Jyoti Bhuyan
EssayFragments of the Forgotten: Memory Loss and the Mystique of Identity in Indian CinemaJuly 7, 2025 Anju Devadas
ColumnE.T. The Extra-Terrestrial (1982): A Visionary Filmmaker’s Journey of Reconciliation Through CinemaJuly 2, 2025 Jack Keating
ColumnBeyond the Azure: Re-watching Ang Lee’s ‘Life of Pi’ Through a Decade of DiscoveryJune 29, 2025 Helly Malviya
Column5 Reasons Why an Arnold Schwarzenegger Cult Classic Outplayed ‘Mickey 17’?June 29, 2025 Gregory Austin
ColumnRewinding Emotion: The Power of Flashback in Vikramaditya Motwane’s ‘Lootera’June 28, 2025 Lagan Mangla
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
Column Get Busy Living: The Shawshank Redemption’s Philosophy of Purpose First, Hope Second Bella Madge November 10, 2025
Essay The Murder We Witnessed, The Life We Must Invoke: A Critical Analysis Of Shamya Dasgupta’s ‘Unmechanical’ Kabir Deb November 10, 2025
Column The Autonomy of Sound in Ghatak – Part II: Sound, Liberation, and Unity in ‘Komal Gandhar’ Sree November 10, 2025
Column The Autonomy of Sound in Ghatak – Part I: Sound, Silence, and Partition in ‘Subarnarekha’ Sree November 10, 2025
Column The Burden of Grandeur: Revisiting Baahubali’s Idea of a ‘Magnum Opus’ Lakshmi Muthiah November 10, 2025
Column Breaking the Cage in ‘Girls Will Be Girls’: Shuchi Talati’s Feminist Lens on Women’s Emotional and Sexual Psyche in South Asian Cinema Poddo Alam November 9, 2025
Column 30 Years Later: Why ‘Waterworld’ Was Never the Bomb Critics Claimed It To Be? Kay A. Oliver November 9, 2025