Breaking the Cage in ‘Girls Will Be Girls’: Shuchi Talati’s Feminist Lens on Women’s Emotional and Sexual Psyche in South Asian Cinema November 6, 2025 Poddo Alam
30 Years Later: Why ‘Waterworld’ Was Never the Bomb Critics Claimed It To Be?November 6, 2025 Kay Oliver
A Temple of Idleness: Why Mallrats (1995) is the Most Sincere Film Among the Slacker CinemaNovember 1, 2025 Sebastian Sommer
Column The Cinematic History of the Witch: From Hag to Heroine Aja Haymore October 31, 2025November 5, 2025
Column The Haunting That Lingers: Revisiting the Horror of ‘Lake Mungo’ (2008) Christopher Rhoten October 31, 2025November 5, 2025
Column Breaking the Cage in ‘Girls Will Be Girls’: Shuchi Talati’s Feminist Lens on Women’s Emotional and Sexual Psyche in South Asian Cinema Poddo Alam November 6, 2025November 6, 2025
Column 30 Years Later: Why ‘Waterworld’ Was Never the Bomb Critics Claimed It To Be? Kay Oliver November 6, 2025November 6, 2025
Column A Temple of Idleness: Why Mallrats (1995) is the Most Sincere Film Among the Slacker Cinema Sebastian Sommer November 1, 2025November 6, 2025
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
EssayDecoding ‘The Batman’ (2022) Through the Lens of Classism, Vigilantes, and the Quest for Justice February 3, 2024 Sourajit Dey
EssayThere Will Be Blood (2007): The Fundamentals of Business From Daniel PlainviewJanuary 29, 2024 Balaganesh Kothapalli
ColumnTi West’s “X” And The Viciousness Of Aging Women In The Horror LandscapeJanuary 24, 2024 Beatrice Gangi
Column‘Saltburn’ and the Case of Missing Perspective: Omitting for the Sake of SuspenseJanuary 21, 2024 Marvel Maximus
EssayComparing the Characters of ‘Omkara’ to the Dramatis Personae of Shakespeare’s ‘Othello’ January 20, 2024 Vaani Udasi
EssaySeeing Beyond the Sores: Unmasking Leprosy in the Malayalam Films Ashwamedham and Sarasayya January 20, 2024 Dr. Aparna Ajith
ColumnHow Netflix is Recreating the “Snyder Cut” Phenomenon with Rebel Moon? December 30, 2023 Adil Rahim Hyder
Breaking the Cage in ‘Girls Will Be Girls’: Shuchi Talati’s Feminist Lens on Women’s Emotional and Sexual Psyche in South Asian Cinema
Essay Mukundan Unni Associates (2022) – A Metamodern (?) Replica of The Tragedy of Macbeth High on Films August 20, 2024
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
Essay Exploring the Narrative Angle and the Role of Women in Rituparno Ghosh’s ‘Shubho Mahurat’ Arpita Chowdhury May 3, 2023
Essay · Video [Watch] The Unexpected Popularity of RRR in the West Explained Matt Geiger April 19, 2024
Essay Exotica (1994): A Confounding Tale of Strange Obsessions and Unbearable Suffering Pranjal Singh December 18, 2022