Love in the Ruins of Paradise: How “Pathey Holo Deri” Turns Melodrama Into a Study of Desire and Selfhood May 14, 2026 Sree
Just a Slap: Ideology, Rupture and Ethical Excess in a Žižekian Reading of ‘Thappad’May 13, 2026 Gargi Chatterjee
Springing Toward An Uncertain Future: How ‘The Devil Wears Prada 2’ Portrays The Digital Age And Its Effects on the Labor CrisisMay 11, 2026 Giovanna Ramírez
Revisiting ‘Manichitrathazhu’ (1993): Caste, Psychiatry, and the Cultural Blind Spots of a Malayalam Classic May 11, 2026 Krish
The Silence That Echoes: Gender, Space, and Power in Neeraj Ghaywan’s 2017 Short Film ‘Juice’ May 7, 2026 Prapti Alam
Essay Convergence and Separation of People and Places in Wim Wenders’ ‘Paris, Texas’ Manav May 5, 2026May 5, 2026
Column Drifting Between Worlds: Urban Space, Rural Memory, and the Sixth Generation Chinese Cinema Sree May 3, 2026May 4, 2026
Column The Making of Film Language: Griffith’s Biograph Years and ‘The Painted Lady’ Sree May 2, 2026May 3, 2026
Column Love in the Ruins of Paradise: How “Pathey Holo Deri” Turns Melodrama Into a Study of Desire and Selfhood Sree May 14, 2026May 14, 2026
Column Just a Slap: Ideology, Rupture and Ethical Excess in a Žižekian Reading of ‘Thappad’ Gargi Chatterjee May 13, 2026May 14, 2026
Column Springing Toward An Uncertain Future: How ‘The Devil Wears Prada 2’ Portrays The Digital Age And Its Effects on the Labor Crisis Giovanna Ramírez May 11, 2026May 11, 2026
EssayEternal Recurrence: Love and Memory in the Philosophy of Living through ‘Eternal Sunshine of the Spotless Mind’March 1, 2026 Bipasha Bhattacharyya
ColumnWhen Reason Becomes a Voice: Masculinity and Power in ‘Alphaville’February 26, 2026 Bipasha Bhattacharyya
Column‘Kennedy’ and the Spectacle of Violence: Cop Cinema, Catharsis, and the Politics of BloodFebruary 24, 2026 Manav
ColumnOn The Functional Intimacy Of Shruti And Bittoo In ‘Band Baaja Baaraat’ (2010)February 22, 2026 Tanay Shrotriy
ColumnBlack Honey (Molasses, 2010) and the Idea of Conditional Nostalgia in an Unequal HomelandFebruary 22, 2026 Masa Awartani
ColumnWho Writes Reality? Narrative, Madness, and the Fragile Architecture of Truth in ‘In the Mouth of Madness’February 21, 2026 Guilherme Quireza
ColumnWhy Music Saves Max: Trauma, Memory, and Escape in ‘Stranger Things’ Season 4February 21, 2026 Ishani Routh
ColumnWhy Social Strategy Now Makes or Breaks Opening Weekend – How Social Media Became Hollywood’s Secret WeaponFebruary 20, 2026 Kay A. Oliver
ColumnHow the Noir Detective Changed Through the 20th Century: The Erosion of Masculine Control in Film NoirFebruary 16, 2026 Ben Brewster
ColumnFrom Tbilisi to Seoul: Why Korean Cinema Feels Familiar to a Georgian Filmmaker February 16, 2026 Medea Tchelidze
ColumnWho Creates the Monster? Psycho, Cairo Station, and the Violence We Refuse to SeeFebruary 13, 2026 Masa Awartani
ColumnComfort That Tells the Truth: Community’s Metafiction and Why Greendale Still MattersFebruary 13, 2026 Ethan Law
Love in the Ruins of Paradise: How “Pathey Holo Deri” Turns Melodrama Into a Study of Desire and Selfhood
Springing Toward An Uncertain Future: How ‘The Devil Wears Prada 2’ Portrays The Digital Age And Its Effects on the Labor Crisis
Revisiting ‘Manichitrathazhu’ (1993): Caste, Psychiatry, and the Cultural Blind Spots of a Malayalam Classic
Column ‘Company Retreat’ and the Appeal of The Peculiar Strain of Meta-Comedies Akash Deshpande April 10, 2026
Column How Daft Punk Take on the Music Industry Through “Interstella 5555” Rafael Jovine April 7, 2026
Column ‘Marty Supreme’ and ‘The Smashing Machine’: Dreaming Big and Learning To Fail Shivam Pota April 1, 2026
Column · Netflix Horror, Commitment Phobia, and Marriage Walk into a Bar: When Love Demands Certainty in ‘Something Very Bad Is Going to Happen’ Mukulika Batabyal April 19, 2026
Essay What The Law Cannot Hold: Cinema, Trans Lives, and the Limits of Recognition in Contemporary India Bipasha Bhattacharyya March 28, 2026
Column ‘Didn’t Die’ and the Anatomy and Tone of a Modern Zombie Horror Film Akash Deshpande March 28, 2026
