Eternal Recurrence: Love and Memory in the Philosophy of Living through ‘Eternal Sunshine of the Spotless Mind’March 1, 2026 Bipasha Bhattacharyya
When Reason Becomes a Voice: Masculinity and Power in ‘Alphaville’February 26, 2026 Bipasha Bhattacharyya
‘Kennedy’ and the Spectacle of Violence: Cop Cinema, Catharsis, and the Politics of BloodFebruary 24, 2026 Manav
Column On The Functional Intimacy Of Shruti And Bittoo In ‘Band Baaja Baaraat’ (2010) Tanay Shrotriy February 22, 2026February 26, 2026
Column Black Honey (Molasses, 2010) and the Idea of Conditional Nostalgia in an Unequal Homeland Masa Awartani February 22, 2026February 26, 2026
Column Who Writes Reality? Narrative, Madness, and the Fragile Architecture of Truth in ‘In the Mouth of Madness’ Guilherme Quireza February 21, 2026February 24, 2026
Column Bruges as Purgatory: A Moral Landscape for the Damned Adam Page February 26, 2026March 1, 2026
Column Model Minority: How ‘America’s Next Top Model’ Policed Blackness Aja Haymore February 26, 2026March 1, 2026
Column When Reason Becomes a Voice: Masculinity and Power in ‘Alphaville’ Bipasha Bhattacharyya February 26, 2026March 1, 2026
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 · Netflix · Streaming NowWatching ‘Materialists’ (2025) from a South Asian Perspective and the “Arranged Marriage” LensFebruary 8, 2026 Keya Shirali
ColumnWhy Rapunzel Chose a Frying Pan? What Her Weapon of Choice Reveals About Her InnocenceFebruary 5, 2026 Madiha Ali
ColumnHow Dwayne ‘The Rock’ Johnson’s Professional Wrestling Career Can Inform the Future of His Acting Days February 2, 2026 Hayyan Khawaja
ColumnBeyond the Binary of Disclosure: A Materialist Becoming of Intimacy in the Male-Male Dynamic of Sanjay Nag’s Memories in March (2010)January 29, 2026 Sohini Dasgupta
ColumnWhy “The Hitchhiker’s Guide to the Galaxy” Is an Unlikely Comfort Movie?January 23, 2026 Oleksandra Kolosovska
Column‘Titli’ and the Fragile Dream of Becoming Free in Contemporary IndiaJanuary 19, 2026 Bipasha Bhattacharyya
ColumnSartorial Storytelling and Bacchanalian Rites: Intertextuality and Social Stratification in Luhrmann’s ‘The Great Gatsby’January 16, 2026 Vasundhara Parashar
ColumnBound By Obsession: The Mutually Assured Destruction of Mozart and Salieri in ‘Amadeus’January 16, 2026 Bella Madge
ColumnWhat “English Vinglish” Reveals About Adult Learning in Indian CinemaJanuary 13, 2026 Madiha Ali
EssayEnergy, Reincarnation, And Cinema: Storytelling From The Sixth Sense To Hawa, Through Amitav Ghosh’s “Ghost-Eye”January 12, 2026 Kabir Deb
ColumnDays and Nights of Love and War: “Ikkis” is the Warm Hug This Country NeedsJanuary 8, 2026 Soumalya Chatterjee
Column Why Music Saves Max: Trauma, Memory, and Escape in ‘Stranger Things’ Season 4 Ishani Routh February 24, 2026
Column Why Social Strategy Now Makes or Breaks Opening Weekend – How Social Media Became Hollywood’s Secret Weapon Kay A. Oliver February 24, 2026
Column How the Noir Detective Changed Through the 20th Century: The Erosion of Masculine Control in Film Noir Ben Brewster February 19, 2026
Column From Tbilisi to Seoul: Why Korean Cinema Feels Familiar to a Georgian Filmmaker Medea Tchelidze February 19, 2026
Column Who Creates the Monster? Psycho, Cairo Station, and the Violence We Refuse to See Masa Awartani February 14, 2026
Column Comfort That Tells the Truth: Community’s Metafiction and Why Greendale Still Matters Ethan Law February 14, 2026
