‘Marty Supreme’ and ‘The Smashing Machine’: Dreaming Big and Learning To FailMarch 31, 2026 Shivam Pota
Horror, Commitment Phobia, and Marriage Walk into a Bar: How ‘Something Very Bad Is Going to Happen’ When Love Demands CertaintyMarch 31, 2026 Mukulika Batabyal
What The Law Cannot Hold: Cinema, Trans Lives, and the Limits of Recognition in Contemporary India March 28, 2026 Bipasha Bhattacharyya
Column How ‘Father Mother Sister Brother’ Finds Intimacy in Distance Bipasha Bhattacharyya March 24, 2026March 24, 2026
Essay Apu’s Women: Reading the Novels and the Film Trilogy Against their Historical Canvas Sree March 23, 2026March 24, 2026
Column What Lady Bird Teaches Us About the Cost of Economic Class and Independence? Puja Sinha March 20, 2026March 23, 2026
Column ‘Marty Supreme’ and ‘The Smashing Machine’: Dreaming Big and Learning To Fail Shivam Pota March 31, 2026April 1, 2026
Column · Netflix · Streaming Now Horror, Commitment Phobia, and Marriage Walk into a Bar: How ‘Something Very Bad Is Going to Happen’ When Love Demands Certainty Mukulika Batabyal March 31, 2026April 1, 2026
Column ‘Didn’t Die’ and the Anatomy and Tone of a Modern Zombie Horror Film Akash Deshpande March 28, 2026March 28, 2026
ColumnThis is Not a Review: Thinking 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
Column‘Titli’ and the Fragile Dream of Becoming Free in Contemporary IndiaJanuary 19, 2026 Bipasha Bhattacharyya
ColumnSartorial Storytelling and Bacchanalian Rites: Intertextuality and Social Stratification in Luhrmann’s ‘The Great Gatsby’January 16, 2026 Vasundhara Parashar
ColumnBound By Obsession: The Mutually Assured Destruction of Mozart and Salieri in ‘Amadeus’January 16, 2026 Bella Madge
ColumnWhat “English Vinglish” Reveals About Adult Learning in Indian CinemaJanuary 13, 2026 Madiha Ali
EssayEnergy, Reincarnation, And Cinema: Storytelling From The Sixth Sense To Hawa, Through Amitav Ghosh’s “Ghost-Eye”January 12, 2026 Kabir Deb
ColumnDays and Nights of Love and War: “Ikkis” is the Warm Hug This Country NeedsJanuary 8, 2026 Soumalya Chatterjee
ColumnEcofeminism Through an Estranged Marriage in Aparna Sen’s Yugant (1995)January 7, 2026 Debanjan Dhar
Horror, Commitment Phobia, and Marriage Walk into a Bar: How ‘Something Very Bad Is Going to Happen’ When Love Demands Certainty
Essay Eternal Recurrence: Love and Memory in the Philosophy of Living through ‘Eternal Sunshine of the Spotless Mind’ Bipasha Bhattacharyya March 2, 2026
Article Bridgerton Season 4 Ending Twist: Is the New Lady Whistledown a Bigger Mystery Than the Seven Kingdoms? Khushi Verma March 2, 2026
Column When Reason Becomes a Voice: Masculinity and Power in ‘Alphaville’ Bipasha Bhattacharyya March 1, 2026
Column ‘Kennedy’ and the Spectacle of Violence: Cop Cinema, Catharsis, and the Politics of Blood Manav March 1, 2026
Column On The Functional Intimacy Of Shruti And Bittoo In ‘Band Baaja Baaraat’ (2010) Tanay Shrotriy February 26, 2026
Column Black Honey (Molasses, 2010) and the Idea of Conditional Nostalgia in an Unequal Homeland Masa Awartani February 26, 2026
Column Who Writes Reality? Narrative, Madness, and the Fragile Architecture of Truth in ‘In the Mouth of Madness’ Guilherme Quireza February 24, 2026
