What The Law Cannot Hold: Cinema, Trans Lives, and the Limits of Recognition in Contemporary India March 28, 2026 Bipasha Bhattacharyya
Apu’s Women: Reading the Novels and the Film Trilogy Against their Historical Canvas March 23, 2026 Sree
Column What Lady Bird Teaches Us About the Cost of Economic Class and Independence? Puja Sinha March 20, 2026March 23, 2026
Column ‘If I Had Legs I’d Kick You’ and the Loneliness of Being a Mother Prapti Alam March 17, 2026March 19, 2026
Column A Žižekian Reading of ‘Assi’: Rape, Spectacle and Systemic Violence in Contemporary India Soumalya Chatterjee March 17, 2026March 19, 2026
Column ‘Didn’t Die’ and the Anatomy and Tone of a Modern Zombie Horror Film Akash Deshpande March 28, 2026March 28, 2026
Column Treasure Planet, or the Refusal to Give Up on the Lost Guilherme Quireza March 26, 2026March 26, 2026
Column How ‘Father Mother Sister Brother’ Finds Intimacy in Distance Bipasha Bhattacharyya March 24, 2026March 24, 2026
ColumnWhen Reason Becomes a Voice: Masculinity and Power in ‘Alphaville’February 26, 2026 Bipasha Bhattacharyya
Column‘Kennedy’ and the Spectacle of Violence: Cop Cinema, Catharsis, and the Politics of BloodFebruary 24, 2026 Manav
ColumnOn The Functional Intimacy Of Shruti And Bittoo In ‘Band Baaja Baaraat’ (2010)February 22, 2026 Tanay Shrotriy
ColumnBlack Honey (Molasses, 2010) and the Idea of Conditional Nostalgia in an Unequal HomelandFebruary 22, 2026 Masa Awartani
ColumnWho Writes Reality? Narrative, Madness, and the Fragile Architecture of Truth in ‘In the Mouth of Madness’February 21, 2026 Guilherme Quireza
ColumnWhy Music Saves Max: Trauma, Memory, and Escape in ‘Stranger Things’ Season 4February 21, 2026 Ishani Routh
ColumnWhy Social Strategy Now Makes or Breaks Opening Weekend – How Social Media Became Hollywood’s Secret WeaponFebruary 20, 2026 Kay A. Oliver
ColumnHow the Noir Detective Changed Through the 20th Century: The Erosion of Masculine Control in Film NoirFebruary 16, 2026 Ben Brewster
ColumnFrom Tbilisi to Seoul: Why Korean Cinema Feels Familiar to a Georgian Filmmaker February 16, 2026 Medea Tchelidze
ColumnWho Creates the Monster? Psycho, Cairo Station, and the Violence We Refuse to SeeFebruary 13, 2026 Masa Awartani
ColumnComfort That Tells the Truth: Community’s Metafiction and Why Greendale Still MattersFebruary 13, 2026 Ethan Law
ColumnThe Death of the Opening Weekend: What Actually Defines Success in Film NowFebruary 12, 2026 Kay A. Oliver
ColumnThis is Not a Review: Thinking about Storytelling in Assamese Cinema through ‘Joubone Amoni Kore 2’ and ‘Heruwa Chanda’February 10, 2026 Sanjib Kalita
Essay · Prime Video · Streaming NowInside ‘Mohalla Assi’ (2018) – Performance of Tradition, Women and the Theatrics of Caste in Brahminical India February 10, 2026 Bipasha Bhattacharyya
Column A Žižekian Reading of ‘Assi’: Rape, Spectacle and Systemic Violence in Contemporary India Soumalya Chatterjee March 19, 2026
Essay “What’s Done is Done”: The Shift from Ambition to Numbness in 2015’s Macbeth Adam Page March 19, 2026
Article Hollywood’s Awards in the Age of AI: Streaming, Surviving, and Evolving Kay A. Oliver March 18, 2026
Essay The Messianic Call to Raw Being: A Cross-Cultural Reading of Pier Paolo Pasolini’s ‘Teorema’ (‘Theorem,’ 1968) and C.P. Padmakumar’s ‘Sammohanam’ (‘Enchantment,’ 1994) Jubin Abraham March 14, 2026
Essay The Politics of Love in a Metropolitan Cityscape through Montu Pilot (TV Series 2019) Bipasha Bhattacharyya March 11, 2026
Column Wuthering Heights on Film: How Adaptations Repeatedly Lose the Dark Heart of Emily Brontë’s Novel Shivangi Thakur March 10, 2026
Essay Eternal Recurrence: Love and Memory in the Philosophy of Living through ‘Eternal Sunshine of the Spotless Mind’ Bipasha Bhattacharyya March 2, 2026
Article Bridgerton Season 4 Ending Twist: Is the New Lady Whistledown a Bigger Mystery Than the Seven Kingdoms? Khushi Verma March 2, 2026