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
ColumnDirge of Resistance: Unveiling Patriarchy and Power in ‘Mirch Masala’ (1987)December 13, 2024 Soumalya Chatterjee
EssayWatchmen: The Often-Overlooked Differences Between Zack Snyder’s Movie and Alan Moore’s Graphic NovelDecember 3, 2024 Mohan Kumar
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
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
Essay The Viewer in Kubrickland: Solving Stanley Kubrick’s Hermeneutic Labyrinth Debopriyaa Dutta July 29, 2023
High On Films
