Between Surnames and Silences: The Unflinching World of Neeraj Ghaywan’s ‘Homebound’ (2025)October 4, 2025 Rhea Raj Shinde
The Last Frontier Is Us: What ‘Eddington’ and ‘One Battle After Another’ Say about Survival in the Current Global OrderOctober 3, 2025 Aryan Vyas
Summer of Superman: How James Gunn’s ‘Superman’ (2025) Reminds Us of The Man of Tomorrow’s PowerOctober 2, 2025 Ollie Wheaton
Column A Humanistic Mirror to India’s Fault Lines: Neeraj Ghaywan’s ‘Homebound’ Shivani Muralikrishna October 2, 2025October 3, 2025
Essay The Poetics of Broken Hearts: Intimacy and Identity in ‘Queer’ Kabir Deb September 26, 2025September 26, 2025
Column How Did Zubeen Garg Become the Heartbeat of Our Generation Kalpa Jyoti Bhuyan September 26, 2025September 26, 2025
Column ‘King & Conqueror’ and the Long Shadow of ‘Game of Thrones’ Ollie Wheaton October 9, 2025October 9, 2025
Column Who Owns Nature? ‘Jugnuma’ and the Politics of Ecological Memory Prerna Chatterjee October 9, 2025October 9, 2025
Column Between Surnames and Silences: The Unflinching World of Neeraj Ghaywan’s ‘Homebound’ (2025) Rhea Raj Shinde October 4, 2025October 7, 2025
ColumnThe North–South Divide in Indian Cinema: Tropes, Stereotypes, and Cultural MisstepsSeptember 6, 2025 Santosh Kumar Mamgain
ColumnHow Does Tarantino’s ‘Pulp Fiction’ (1994) Condemn American Nihilism?September 5, 2025 Georgia May
ColumnHow Quentin Tarantino Subverts World War II Narratives through a Postmodern Lens in ‘Inglourious Basterds’?September 3, 2025 Abirbhab Maitra
ColumnFourth Wall Break in Cinema and Its Relationship with Brechtian Dramaturgy September 2, 2025 Subhankar Das
ColumnBeyond Statistics: How Ray’s ‘Ashani Sanket’ Resurrects the 1943 Bengal FamineAugust 31, 2025 Sumedha Chatterjee
ColumnThe Optical Residue of a Nation: Fragments from Route One USA (1989)August 29, 2025 Pulkit Sharma
ColumnHow Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost in Translation’ Turned Loneliness Into CinemaAugust 29, 2025 Sumedha Chatterjee
ColumnHigh Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music August 28, 2025 Aja Haymore
ColumnGuru Dutt’s Bombay Noir and Anguish Regarding the Emergent Urbanity August 25, 2025 Damayanti Ghosh
ColumnLong Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated ComedyAugust 23, 2025 Naveed Zahir
ColumnFractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (1975) Through a Lacanian Lens in Post-COVID TimesAugust 20, 2025 Ishani Routh
ColumnEmancipation and Labour: An Existentialist Analysis of ‘Mrs.’ (2023) as a Tale of Labour Exploitation August 20, 2025 Santosh Kumar Mamgain
ColumnUnderstanding the Post-Partition Riverscape of Padma in Ghatak’s ‘Komal Gandhar’ (1961)August 18, 2025 Keshab Ray
The Last Frontier Is Us: What ‘Eddington’ and ‘One Battle After Another’ Say about Survival in the Current Global Order
Essay Lolita’s Daughters: Innocence, Eroticism, And Cinematic Obsession With The Nymphet Anju Devadas September 9, 2025
Essay The Fangs of Fear: Exploring Horror and Dread in ‘Jaws’ (1975) Krishnanunni Padinjassery July 16, 2025
Essay Fragments of the Forgotten: Memory Loss and the Mystique of Identity in Indian Cinema Anju Devadas August 30, 2025
Essay Destination Moon at Seventy-Five: Reassessing a Pioneering Vision of Space, Science, and Enterprise Andrew Kidd June 29, 2025
Essay The French Dispatch: or All Great Beauties Withhold Their Deepest Secrets Hector Levya July 4, 2025
Essay From A-Listers to Crew Women, How Hindi Film Industry’s Feminism Rings Hollow Without Basic Dignity Sakshi Salil Chavan June 22, 2025
Essay The Crime Behind The Curtain: Looking Back at ‘Yavanika,’ a Cinematic Masterpiece Vaishnavi S June 24, 2025
Essay Popular Cinema in India: A Socio-Cultural Analysis of the Indian Cinema and Its Cinematic Tropes Santosh Kumar Mamgain August 4, 2025
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