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
ColumnShattered Dreams from Her Silent Island: Nagi in Girish Kasaravalli’s ‘Dweepa’August 13, 2024 Dr. Aparna Ajith
ColumnAmit Masurkar’s ‘Newton’ is an Exploration of the Grey Spaces in the Sphere of DutyAugust 9, 2024 High on Films
ColumnWorld Beckons “Shunya”: Gujarati Folk Bhavai Takes Center Stage in Indie Film DebutAugust 9, 2024 Arpita Chowdhury
ColumnReligion in Horror Films: ‘Incantation’ and Its Real-World ParallelsAugust 3, 2024 Nafees Ahmed
ColumnAnalyzing the Dreamworld of ‘All of Us Strangers’ through a Freudian LensJuly 27, 2024 Srilekha Mitra
ColumnThe Ruins of Half-Forgotten Dreams in the Films of Nobuhiko ŌbayashiJuly 26, 2024 Srimayee Gangopadhyay
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ColumnDepiction of Feminity, Othering, and Masculinity in the Iconic ‘Sex And the City’July 16, 2024 Srilekha Mitra
EssayBaba Yaga’s Bullet Ballet: John Wick and the Rebirth of Modern Action CinemaJuly 15, 2024 Aadesh Gupta
Column Fractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (1975) Through a Lacanian Lens in Post-COVID Times Ishani Routh September 16, 2025
Column Emancipation and Labour: An Existentialist Analysis of ‘Mrs.’ (2023) as a Tale of Labour Exploitation Santosh Kumar Mamgain August 31, 2025
Column Understanding the Post-Partition Riverscape of Padma in Ghatak’s ‘Komal Gandhar’ (1961) Keshab Ray September 5, 2025
Essay Beyond The Vamp: Silk Smitha, Stardom, And The Politics Of Desire Anju Devadas September 5, 2025
Column The Art, the Artist, and the Astaire: How ‘The Band Wagon’ (1953) Deconstructs Cinema’s Greatest Dancer Jack Keating September 8, 2025
Column Caste Was Never Part of My Story Until It Was: Featuring ‘Dhadak 2’ (2025) Sneha Roy August 30, 2025
Column Girls Just Like to Swing! My Observations and Reflections on Mira Nair’s ‘India Cabaret’ Nayan Jain August 28, 2025
Column The Real Rage Virus: 28 Years Later and Dreams of Nationalist Nostalgia Dan Flattery August 28, 2025
