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
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
ColumnThe Death of the Opening Weekend: What Actually Defines Success in Film NowFebruary 12, 2026 Kay A. Oliver
ColumnThinking about Storytelling in Assamese Cinema through ‘Joubone Amoni Kore 2’ and ‘Heruwa Chanda’February 10, 2026 Sanjib Kalita
Essay · Prime Video · Streaming NowInside ‘Mohalla Assi’ (2018) – Performance of Tradition, Women and the Theatrics of Caste in Brahminical India February 10, 2026 Bipasha Bhattacharyya
Column · Netflix · Streaming NowWatching ‘Materialists’ (2025) from a South Asian Perspective and the “Arranged Marriage” LensFebruary 8, 2026 Keya Shirali
ColumnWhy Rapunzel Chose a Frying Pan? What Her Weapon of Choice Reveals About Her InnocenceFebruary 5, 2026 Madiha Ali
ColumnHow Dwayne ‘The Rock’ Johnson’s Professional Wrestling Career Can Inform the Future of His Acting Days February 2, 2026 Hayyan Khawaja
ColumnBeyond the Binary of Disclosure: A Materialist Becoming of Intimacy in the Male-Male Dynamic of Sanjay Nag’s Memories in March (2010)January 29, 2026 Sohini Dasgupta
ColumnWhy “The Hitchhiker’s Guide to the Galaxy” Is an Unlikely Comfort Movie?January 23, 2026 Oleksandra Kolosovska
The Proof of Your Existence: On ‘Queen & Slim’ (2019), Anger, Love, and the Meaning of Survival in a Collapsing World
Column A Žižekian Reading of ‘Assi’: Rape, Spectacle and Systemic Violence in Contemporary India Soumalya Chatterjee March 19, 2026
Essay “What’s Done is Done”: The Shift from Ambition to Numbness in 2015’s Macbeth Adam Page March 19, 2026
Article Hollywood’s Awards in the Age of AI: Streaming, Surviving, and Evolving Kay A. Oliver March 18, 2026
Essay The Messianic Call to Raw Being: A Cross-Cultural Reading of Pier Paolo Pasolini’s ‘Teorema’ (‘Theorem,’ 1968) and C.P. Padmakumar’s ‘Sammohanam’ (‘Enchantment,’ 1994) Jubin Abraham March 14, 2026
Essay The Politics of Love in a Metropolitan Cityscape through Montu Pilot (TV Series 2019) Bipasha Bhattacharyya March 11, 2026
Column Wuthering Heights on Film: How Adaptations Repeatedly Lose the Dark Heart of Emily Brontë’s Novel Shivangi Thakur March 10, 2026
Essay Eternal Recurrence: Love and Memory in the Philosophy of Living through ‘Eternal Sunshine of the Spotless Mind’ Bipasha Bhattacharyya March 2, 2026
