How Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost in Translation’ Turned Loneliness Into CinemaAugust 29, 2025 Sumedha Chatterjee
High Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music August 28, 2025 Aja Haymore
Long Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated ComedyAugust 23, 2025 Naveed Zahir
Column Breaking the Flow: The Interval Economy of Indian Cinema Pranay Kumar August 20, 2025August 23, 2025
Column Fractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (Zerkalo, 1975) Through a Lacanian Lens in Post-COVID Times Ishani Routh August 20, 2025August 20, 2025
Column Emancipation and Labour: An Existentialist Analysis of ‘Mrs.’ (2023) as a Tale of Labour Exploitation Santosh Kumar Mamgain August 20, 2025August 20, 2025
Column The Optical Residue of a Nation: Fragments from Route One USA (1989) Pulkit Sharma August 29, 2025August 29, 2025
Column How Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost in Translation’ Turned Loneliness Into Cinema Sumedha Chatterjee August 29, 2025
Column High Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music Aja Haymore August 28, 2025August 28, 2025
ColumnHow Netflix is Recreating the “Snyder Cut” Phenomenon with Rebel Moon? December 30, 2023 Adil Rahim Hyder
ColumnPlacing “A Girl Walks Home Alone At Night” within “The Girls of Revolution Street” Protests of IranDecember 24, 2023 Martha Bird
ColumnOn Healing and Coping: How ‘Mysterious Skin’ Succeeds in Portraying Abuse StoriesDecember 24, 2023 Federica Giampaolo
ColumnWhy Punch-Drunk Love (2002) is the Greatest Romcom of All Time? December 14, 2023 Ritesh Sharma
ColumnThe Success of “Animal” Speaks to the Broader Pervasiveness That’s Sheathed Over The National Conscience December 14, 2023 Aryan Vyas
EssayTranscendental Style as An Idea Of Being in the Filmography of Carlos Reygadas December 11, 2023 Maria Vatcharadze
Column“Killers of the Flower Moon” and the Politics of Martin Scorsese November 21, 2023 Aadesh Gupta
Column · Netflix · Streaming Now“The Killer” Is A Remarkably Self-Aware Cinema Which Many of You Are Perceiving WrongNovember 16, 2023 Rohitavra Majumdar
EssayPrem Pujari (1970) – Complicity of Dev Anand’s Stardom in the Construction of Toxic Nationalism and Patriarchal RulesNovember 8, 2023 Nikhil Sanghotra
Column · JioHotstar · Streaming NowA Journey of Letting Go in Soumyak Kanti DeBiswas’ ‘The Daughter’October 31, 2023 Shivani Muralikrishna
ColumnMagical Realism, Family and the Big Screen: Lessons from Two Great MoviesOctober 31, 2023 Joséphine des Aulnois
Essay Celebrating Secularism With Shahrukh Khan’s Pathaan (2023) Balaganesh Kothapalli February 22, 2023
Essay Discovering Steven Spielberg’s Magic: Why The Fabelmans and Close Encounters of the Third Kind Should be a Double Bill Rob Jones February 23, 2023
Essay Analysing the ‘New’ in Malayalam’s New-Generation Buddy Movies: Rani Padmini (2015) and Super Sharanya (2022) Krishnanunni Padinjassery February 21, 2023
Essay From DDLJ to Rab Ne: How Aditya Chopra Created & Dismantled The On-Screen Persona of SRK’s Raj Aryan Vyas February 15, 2023
Essay The Seasons of Time: An Introduction To Post-Love Era, Based on Spike Jonze’s Her High on Films May 29, 2024
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