High Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music August 28, 2025 Aja Haymore
Long Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated ComedyAugust 23, 2025 Naveed Zahir
Fractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (Zerkalo, 1975) Through a Lacanian Lens in Post-COVID TimesAugust 20, 2025 Ishani Routh
Column Emancipation and Labour: An Existentialist Analysis of ‘Mrs.’ (2023) as a Tale of Labour Exploitation Santosh Kumar Mamgain August 20, 2025August 20, 2025
Column Understanding the Post-Partition Riverscape of Padma in Ghatak’s ‘Komal Gandhar’ (1961) Keshab Ray August 18, 2025August 18, 2025
Essay Beyond The Vamp: Silk Smitha, Stardom, And The Politics Of Desire Anju Devadas August 18, 2025August 18, 2025
Column High Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music Aja Haymore August 28, 2025August 28, 2025
Column Guru Dutt’s Bombay Noir and Anguish Regarding the Emergent Urbanity Damayanti Ghosh August 25, 2025August 25, 2025
Column Long Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated Comedy Naveed Zahir August 23, 2025August 23, 2025
ColumnCinema through the Lens of ‘Breathless’ (1960): Girls, Guns, and the Ghosts of Paris August 7, 2025 Naman Kumar
ColumnThe Return of ‘Chaotic Women’ in Indian Independent Cinema August 6, 2025 Bipasha Bhattacharyya
EssayThe Rajinikanth Effect: How Thalaivar’s Meteoric Charm Forged A Cultural PhenomenonAugust 5, 2025 Anju Devadas
Column · FeaturedThe Mockery of National Awards: The Fiasco of the 71st National Awards and What it Holds for the FutureAugust 3, 2025 Santosh Kumar Mamgain
Essay · FeaturedNeocolonial Anxieties in Bong Joon-ho’s ‘The Host’ (2006)August 2, 2025 Shahim Sheikh
EssayBeyond Bloodlines: Reimagining Kinship And Childhood In Hirokazu Kore-eda’s Cinema July 31, 2025 Anju Devadas
ColumnWhy do all the Contemporary Villains Sound Like They’ve Read Camus? July 30, 2025 Bipasha Bhattacharyya
ColumnThe Pain of Silent Departures and the Turmoil That Lingers Within: Thoughts on G.Aravindan’s Pokkuveyil (1982, Twilight)July 30, 2025 Rugmini Dinu
EssayHaunting Silences And Moral Reckonings: Gender, Guilt, And Redemption In G. Aravindan’s ‘Chidambaram’ (1985)July 28, 2025 Anju Devadas
ColumnThe Horror of the Unseen: How the 1999 Movie ‘The Blair Witch Project’ Redefined FearJuly 24, 2025 Em Stonham
ColumnThrough the Lens of Love and Longing: Revisiting Kieślowski’s ‘A Short Film About Love’July 21, 2025 Rugmini Dinu
Column‘The Ugly Stepsister’ (2025) and the Cost of Becoming ‘Beautiful Enough’July 21, 2025 Aja Haymore
ColumnWhen Horror Hurts: Violence, Realism, and Responsibility in ‘Funny Games’ (1997) and ‘When Evil Lurks’ (2023) July 20, 2025 Hannah John
Essay Fragments of the Forgotten: Memory Loss and the Mystique of Identity in Indian Cinema Anju Devadas July 10, 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
Essay Paul Thomas Anderson’s Psychological Prowess through the Lens of his Most Problematic Picture Hector Levya June 9, 2025
Essay · Featured The Avenging Woman: The Politics and Aesthetics of Female Rage in Rape-Revenge Cinema Anju Devadas May 31, 2025
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