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
ColumnReligion in Horror Films: ‘Incantation’ and Its Real-World ParallelsAugust 3, 2024 Nafees Ahmed
ColumnAnalyzing the Dreamworld of ‘All of Us Strangers’ through a Freudian LensJuly 27, 2024 Srilekha Mitra
ColumnThe Ruins of Half-Forgotten Dreams in the Films of Nobuhiko ŌbayashiJuly 26, 2024 Srimayee Gangopadhyay
Article · EssayRidley Scott’s Gladiator (2000): Hollywood and the Road Always TakenJuly 16, 2024 Shahim Sheikh
ColumnDepiction of Feminity, Othering, and Masculinity in the Iconic ‘Sex And the City’July 16, 2024 Srilekha Mitra
EssayBaba Yaga’s Bullet Ballet: John Wick and the Rebirth of Modern Action CinemaJuly 15, 2024 Aadesh Gupta
ColumnExploring Intersectionality in a Comedic World of ‘Tangerine’ (2015)July 15, 2024 Purusharth Chawla
ColumnSelling Out – How ‘American Fiction’ Recalls Spike Lee’s ‘Bamboozled’ While Sanitizing its Subversive EdgeJuly 13, 2024 Dorian Griffin
ColumnThe Count of Monte Cristo (2024): Action and Emotion – How to Find the Right Balance?July 10, 2024 Joséphine des Aulnois
EssayChandu Champion: Kartik Aaryan Transforms Himself in This Tale of Indian SisyphusJuly 8, 2024 Naina Rathi
Column“Less of a Man”: Why We Need More Narratives Like ‘Baby Reindeer’ and ‘May December’?June 28, 2024 Oishi Banerjee
EssayLost in Translation: How “Anatomy of a Fall” Captures the Difficulty of Representing RealityJune 22, 2024 David Lobzhanidze
ColumnParis is Burning: The Search for Freedom in Overlapping Systems of OppressionsJune 19, 2024 Purusharth Chawla
ColumnThe Next Big Monster: Why We Should Be Excited About the Upcoming Nosferatu (2024) Remake?June 4, 2024 Joséphine des Aulnois
ColumnWhy Furiosa: A Mad Max Saga is Bombing at the Box Office (And Why It Doesn’t Matter)May 31, 2024 Adil Rahim Hyder
Essay Tangled in Nostalgia’s Embrace: Boys Over Flowers’ Struggles Against Sands Of Time Sanghavi P.S May 28, 2023
Essay The Psychology Behind Our Love for True Crime Documentaries: Exploring the Fascination Aravind Nair July 14, 2023
Essay · Fan Blog Why Carrie Fisher Was Such An Icon On And Off The Big Screen Jerry Horne July 19, 2023
Essay Succession: How “America Decides” Deconstructs Corporatocracy With A Waking Nightmare Aryan Vyas May 19, 2023
Essay The Conversation (1974) – The Weaponization of Paranoia through Film Imagery Arnav Srivastav May 3, 2023
Essay The Eerie and Fantastical Exhibition of Sam Raimi’s The Evil Dead Trilogy Aravind Nair July 10, 2024
High On Films
