Ten Years Later: How Kurzel’s ‘Macbeth’ Redefined Shakespeare Through Trauma December 29, 2025 Christopher Rhoten
Exploring Loneliness, Intimacy, and Grief through Alexander Payne’s ‘The Holdovers’ (2023)December 25, 2025 Tara Mathur
The Writer Who Had A Wand: A Journey With ‘Chaar Phool Hai Aur Duniya Hai’December 24, 2025 Kabir Deb
Column When Violence Becomes the Hero: Inside India’s New Wave of Adult-Rated Films Santosh Kumar Mamgain December 21, 2025December 26, 2025
Essay God Has Left The Building: Religion in John Hillcoat’s ‘The Road’ Adam Page December 20, 2025December 25, 2025
Essay Where Monsters Become Human: Identity and Otherness in ‘Nimona’ and ‘K-Pop Demon Hunters’ Nileena Sunil December 20, 2025December 25, 2025
Column Ten Years Later: How Kurzel’s ‘Macbeth’ Redefined Shakespeare Through Trauma Christopher Rhoten December 29, 2025December 30, 2025
Column Exploring Loneliness, Intimacy, and Grief through Alexander Payne’s ‘The Holdovers’ (2023) Tara Mathur December 25, 2025December 28, 2025
Column The Writer Who Had A Wand: A Journey With ‘Chaar Phool Hai Aur Duniya Hai’ Kabir Deb December 24, 2025December 27, 2025
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
ColumnStill Relevant After All These Years: How “Reality Bites” Captures 90s Nostalgia and Gen X StrugglesMay 28, 2024 Shreya Mariam
Column · Netflix · Streaming NowWhy is the Failure of ‘Laal Singh Chaddha’ (2022) A Depressing Moment for Bollywood?May 16, 2024 Ritesh Sharma
Column101 Years of Mrinal Sen: Remembering the Icon of Indian Political CinemaMay 14, 2024 Balachandran Chirammal
ColumnWomen Losing and Finding Themselves Back in Kiran Rao’s ‘Laapataa Ladies’ (2024) May 6, 2024 Pratyasha Roy
Essay Searching for the Local Übermencsch: Joel Grey in ‘Man on a Swing’ (1974) Vassilis Kroustallis April 12, 2023
Essay Rosemary’s Baby (1968): Rethinking the Monstrous Mother in Popular Culture Ankita Sen April 4, 2024
Essay You Only Live Once? How Creative Fatigue Plagued the End of the Bond Eras of Pierce Brosnan and Daniel Craig Joséphine des Aulnois March 23, 2023
Essay Charting the Rise of ‘Richsploitation’: The Genre You Don’t Know You Love Elliott Kendal March 22, 2023
Essay Women behind the Camera: Examining Space and Gender in Woman with a Movie Camera (2022) Krishnanunni Padinjassery March 20, 2023
Essay 50 Years of Nirmalyam (1973): Timeless, Introspective, and Radical Krishnanunni Padinjassery April 19, 2024
Essay Aftersun (2022) As A Tale of Aching (Re)Memory and Imagination Purusharth Chawla October 26, 2024
Essay Minari (2020) as More than Just a Family Drama: An Interpretation of the Film’s Marxist Themes Shivani Muralikrishna March 3, 2023
High On Films
