The Proof of Your Existence: On ‘Queen & Slim’ (2019), Anger, Love, and the Meaning of Survival in a Collapsing WorldApril 11, 2026 Damayanti Saha
Dodecatheon in Cinema (or 12 gods, 12 movies) #1: Hermes in ‘Thief’ (1981)April 10, 2026 Guilherme Quireza
‘Company Retreat’ and the Appeal of The Peculiar Strain of Meta-ComediesApril 9, 2026 Akash Deshpande
Column How Daft Punk Take on the Music Industry Through “Interstella 5555” Rafael Jovine April 6, 2026April 7, 2026
Column Iran’s One Battle After Another: Cinephilia vs. State Soumalya Chatterjee April 3, 2026April 4, 2026
Column ‘Marty Supreme’ and ‘The Smashing Machine’: Dreaming Big and Learning To Fail Shivam Pota March 31, 2026April 1, 2026
Column Studying a ‘Non-Revolutionary’ in Satyajit Ray’s ‘Seemabaddha’ Damayanti Ghosh April 18, 2026April 19, 2026
Column · MUBI · Streaming Now The Proof of Your Existence: On ‘Queen & Slim’ (2019), Anger, Love, and the Meaning of Survival in a Collapsing World Damayanti Saha April 11, 2026April 12, 2026
Column The Bridge to the Self: A Personal Journey Through Cinema Saba Tsabadze April 9, 2026April 10, 2026
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
Article · EssayRidley Scott’s Gladiator (2000): Hollywood and the Road Always TakenJuly 16, 2024 Shahim Sheikh
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
ColumnExploring Intersectionality in a Comedic World of ‘Tangerine’ (2015)July 15, 2024 Purusharth Chawla
ColumnSelling Out – How ‘American Fiction’ Recalls Spike Lee’s ‘Bamboozled’ While Sanitizing its Subversive EdgeJuly 13, 2024 Dorian Griffin
ColumnThe Count of Monte Cristo (2024): Action and Emotion – How to Find the Right Balance?July 10, 2024 Joséphine des Aulnois
EssayChandu Champion: Kartik Aaryan Transforms Himself in This Tale of Indian SisyphusJuly 8, 2024 Naina Rathi
Column“Less of a Man”: Why We Need More Narratives Like ‘Baby Reindeer’ and ‘May December’?June 28, 2024 Oishi Banerjee
EssayLost in Translation: How “Anatomy of a Fall” Captures the Difficulty of Representing RealityJune 22, 2024 David Lobzhanidze
ColumnParis is Burning: The Search for Freedom in Overlapping Systems of OppressionsJune 19, 2024 Purusharth Chawla
The Proof of Your Existence: On ‘Queen & Slim’ (2019), Anger, Love, and the Meaning of Survival in a Collapsing World
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