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Column How Daft Punk Take on the Music Industry Through “Interstella 5555” Rafael Jovine April 6, 2026April 7, 2026
Column Iran’s One Battle After Another: Cinephilia vs. State Soumalya Chatterjee April 3, 2026April 4, 2026
Column ‘Marty Supreme’ and ‘The Smashing Machine’: Dreaming Big and Learning To Fail Shivam Pota March 31, 2026April 1, 2026
Column Studying a ‘Non-Revolutionary’ in Satyajit Ray’s ‘Seemabaddha’ Damayanti Ghosh April 18, 2026April 19, 2026
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Column The Bridge to the Self: A Personal Journey Through Cinema Saba Tsabadze April 9, 2026April 10, 2026
ColumnWhen Horror Hurts: Violence, Realism, and Responsibility in ‘Funny Games’ (1997) and ‘When Evil Lurks’ (2023) July 20, 2025 Hannah John
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ColumnChanging Terrain of Cinema from India and Achal Mishra’s ‘Gamak Ghar’July 17, 2025 Anand Subhash Borse
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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
The Proof of Your Existence: On ‘Queen & Slim’ (2019), Anger, Love, and the Meaning of Survival in a Collapsing World
Essay Revisiting ‘Taare Zameen Par’ after reading Carl Honoré’s ‘In Praise of Slowness’ Ayan Dawn November 23, 2025
Column Strong Women, Strong Stories: How Female Characters Can Captivate Audiences Kay A. Oliver November 23, 2025
Article Is There a ‘Now You See Me 3’ (2025) End-Credits Scene? Should You Stay After the Movie? Naveed Zahir November 23, 2025
Article Did Kelly Brook Really Upset Ant & Dec Or Is It Just TV Mythology? Naveed Zahir November 23, 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 14, 2025
