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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
Column Breaking the Flow: The Interval Economy of Indian Cinema Pranay Kumar August 20, 2025August 23, 2025
Column Fractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (Zerkalo, 1975) Through a Lacanian Lens in Post-COVID Times Ishani Routh August 20, 2025August 20, 2025
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 The Optical Residue of a Nation: Fragments from Route One USA (1989) Pulkit Sharma August 29, 2025August 29, 2025
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Column High Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music Aja Haymore August 28, 2025August 28, 2025
ColumnHailey’s On It (2023): What Would It Look Like In Real-Life? The Answers Might Give You A New Perspective On WeaknessAugust 3, 2023 Jessica Balio
ColumnGerald’s Game (2017): Ruminating over a Woman’s Survival through the Allegory of Handcuffs, Solar Eclipse, Moonlight Man, Memories, & MonstersAugust 2, 2023 Poonam Vaze
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ColumnThe End of Heroes? Discussing the Possible Conclusions of the Indiana Jones, James Bond, and Mission: Impossible FranchisesJuly 27, 2023 Joséphine des Aulnois
EssayWhy Oppenheimer Will Go Down As One of The Most Defining Films Of Our Era?July 27, 2023 Aryan Vyas
EssayThe Viewer in Kubrickland: Solving Stanley Kubrick’s Hermeneutic LabyrinthJuly 26, 2023 Debopriyaa Dutta
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Article · Essay Read My Lips (2001): Bringing Out the Best and the Badass in Each Other Pranjal Singh July 18, 2023
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