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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
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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
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Column Intimacy Without Words: The Silent Bonds of ‘Labour of Love’ Gopika Ashokan November 19, 2025November 19, 2025
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ColumnExploring Loneliness, Intimacy, and Grief through Alexander Payne’s ‘The Holdovers’ (2023)February 15, 2024 Tara Mathur
Essay · Streaming Now · The Criterion ChannelThe Critical Re-reading of Alfred Hitchcock’s Vertigo (1958)February 10, 2024 Santanu Das
EssayObjectification or Empowerment: Exploring the Male Gaze in Yorgos Lanthimos’ ‘Poor Things’February 10, 2024 Jacob Barton
Article · Essay[Watch] Video Essay draws parallel between the works of Wes Anderson & Roy AnderssonFebruary 9, 2024 High on Films
ColumnA Novel Look at the Holocaust in “The Zone of Interest” and “A Hidden Life”February 7, 2024 Mitchell Burken
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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Essay The Enigma Called ‘Oppa’: How Korean Men Made Their Way Into Our Living Rooms Kajal Kapur January 17, 2023
Essay ‘Normal People’ is Toxicity wrapped in Western Melancholy, cleverly disguised as an absorbing story Simra Sadaf August 20, 2024
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