Halloween Special — The Cinematic History of the Witch: From Hag to HeroineOctober 31, 2025 Aja Haymore
Halloween Special — The Haunting That Lingers: Revisiting the Horror of ‘Lake Mungo’ (2008)October 31, 2025 Christopher Rhoten
From Slumber to Wakefulness: An Analysis of Sleep and Being Awake in Adoor Gopalakrishnan’s ‘Kodiyettam’ (‘Ascent,’ 1978)October 29, 2025 Jubin Abraham
Column How Masaan (2015) Divorces Women’s Desire From Shame Kudrat Wadhwa October 29, 2025October 29, 2025
Essay Halloween Special — The Strange Thing About Johnsons, Hereditary, and Midsommar: An Analysis of Family Horror in Ari Aster’s Filmography Beatrice Gangi October 28, 2025October 31, 2025
Column Halloween Special — The Cinematic History of the Witch: From Hag to Heroine Aja Haymore October 31, 2025October 31, 2025
Column Halloween Special — The Haunting That Lingers: Revisiting the Horror of ‘Lake Mungo’ (2008) Christopher Rhoten October 31, 2025October 31, 2025
Column From Slumber to Wakefulness: An Analysis of Sleep and Being Awake in Adoor Gopalakrishnan’s ‘Kodiyettam’ (‘Ascent,’ 1978) Jubin Abraham October 29, 2025October 29, 2025
ColumnFrom Cannes to the Commons: Why Fargeat’s ‘The Substance’ Reflects The Liberal Paralysis?November 30, 2024 Shubham Sharma
ColumnHow Prem Kumar’s ‘Meiyazhagan’ Offers a Heartfelt Journey of Rediscovery, Connection, and Healing?November 25, 2024 Sayan Dutta
ColumnA Perspective on Fate, Chance, and Meaningful Connections in ‘Serendipity’ (2001)November 22, 2024 Janani Vaiyapuri
ColumnThe Decline of Integrity in National Film Awards: Politics, Controversies, and Compromised ExcellenceNovember 21, 2024 Santosh Kumar Mamgain
ColumnDeath Becomes Her: How The OG ‘Substance’ Succeeds Where its Successor FaltersNovember 20, 2024 Jamie Carlstrand
ColumnThe Perfect Intersectional Gay Romance in ‘God’s Own Country’November 20, 2024 Ayrton-Lewis Avery
ColumnUnpacking the Horror: Intriguing Theories Surrounding ‘Longlegs’ (2024)November 5, 2024 Soumyajyoti Kar
ColumnChildren of Men: The Dystopian Nightmare That Mirrors Our World TodayNovember 4, 2024 Mohan Kumar
ColumnThe American (Joika, 2024): Relentless Pursuit of Identity and Belonging in the World of BalletOctober 27, 2024 Shinji Alizeh Majumder
Essay‘Girls Will Be Girls’ Is an Intimate Love Letter to Girlhood & Those Who Missed Out on TheirsOctober 25, 2024 Sakshi Salil Chavan
Column‘All We Imagine as Light’ (2024) and the Poetic Deconstruction of the ‘Indomitable Mumbai Spirit’ October 23, 2024 Akash Deshpande
ColumnFairy Folk is a Magical Realist Film that Explores Gender Roles, Sexuality, and MarriageOctober 22, 2024 Shivani Muralikrishna
ColumnWhy the Cult British Heist Film ‘The Italian Job’ is Still Worth Watching?October 15, 2024 Joséphine des Aulnois
From Slumber to Wakefulness: An Analysis of Sleep and Being Awake in Adoor Gopalakrishnan’s ‘Kodiyettam’ (‘Ascent,’ 1978)
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
Essay How ‘Rocky Aur Rani Ki Prem Kahani’ Exudes Typical Grandiose of KJo’s Films While Subverting Societal Stereotypes Srilekha Mitra August 1, 2023
Essay A Long Time on the Epiphanic Road: Chihiro’s Coming of Age and Personal Growth in Spirited Away (2001) Sreetama Basu July 5, 2024
Essay Barbenheimer: How ‘Barbie’ and ‘Oppenheimer’ Critiques Our Flawed World In Their Own Ways Srilekha Mitra August 21, 2024
Essay Why Oppenheimer Will Go Down As One of The Most Defining Films Of Our Era? Aryan Vyas August 21, 2024
High On Films
