How Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost in Translation’ Turned Loneliness Into CinemaAugust 29, 2025 Sumedha Chatterjee
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
Column How Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost in Translation’ Turned Loneliness Into Cinema Sumedha Chatterjee August 29, 2025
Column High Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music Aja Haymore August 28, 2025August 28, 2025
EssayOn Race Relations & Queerness in Todd Haynes’ Far From Heaven (2002)April 12, 2023 Jeffrey Davies
ColumnThe Dominance of the South Indian Films: Are We Witnessing a Fundamental Shift or A Passing Cycle?April 12, 2023 Arjun Niyogi
EssaySearching for the Local Übermencsch: Joel Grey in ‘Man on a Swing’ (1974)April 12, 2023 Vassilis Kroustallis
ColumnThe Magical Realism of Pan’s Labyrinth & The Redefinition of RealityApril 9, 2023 Beatrice Gangi
EssayRosemary’s Baby (1968): Rethinking the Monstrous Mother in Popular CultureMarch 30, 2023 Ankita Sen
ColumnRoy, Kelly & Rebecca Learn to Set Free From Their Past: A Lesson in Dealing With Our Past VersionsMarch 23, 2023 Akash Deshpande
EssayYou Only Live Once? How Creative Fatigue Plagued the End of the Bond Eras of Pierce Brosnan and Daniel CraigMarch 22, 2023 Joséphine des Aulnois
EssayCharting the Rise of ‘Richsploitation’: The Genre You Don’t Know You LoveMarch 21, 2023 Elliott Kendal
EssayWomen behind the Camera: Examining Space and Gender in Woman with a Movie Camera (2022)March 19, 2023 Krishnanunni Padinjassery
ColumnNate vs Ted Lasso: Evaluating the role of mentorship & leadership, and navigating its rootsMarch 16, 2023 Akash Deshpande
Essay50 Years of Nirmalyam (1973): Timeless, Introspective, and RadicalMarch 9, 2023 Krishnanunni Padinjassery
ColumnBardo, False Chronicle of a Handful of Truths (2022): A Visual Feast on Humanity’s Unsolvable ProblemsMarch 8, 2023 Pouya Aghelizadeh
EssayMinari (2020) as More than Just a Family Drama: An Interpretation of the Film’s Marxist ThemesMarch 2, 2023 Shivani Muralikrishna
Article · Essay Squid Game (Netflix TV Series 2021-): The Nightmare of Karl Marx Sandeep Sreelekha December 2, 2021
Article · Essay Do You know How to Die? On David Lowery’s A Ghost Story and the Green Knight Shai Tubali November 10, 2021
Article · Essay How Fearless Nadia Became One of The First Action Stars of Indian Cinema Parth Pant November 8, 2021
Article · Essay Mathilukal and Vidheyan: How Mammootty Captures the Opposite Ends of Hyper-Masculinity with His Layered Performances Akash Deshpande October 27, 2021
Article · Essay The Human Scale (2012): An Urban Planning Documentary That Questions City Design Priya Singh October 6, 2021
Article · Essay The Suicide Squad (2021): A Satire on America’s Advocacy of Violence for Peace & Need To Maintain Power Krishnanunni Padinjassery January 26, 2022
Article · Essay Under The Silver Lake (2018) and the Depth Superficiality of Hollywood Isabelle Cubas February 13, 2022