Ten Years Later: How Kurzel’s ‘Macbeth’ Redefined Shakespeare Through Trauma December 29, 2025 Christopher Rhoten
Exploring Loneliness, Intimacy, and Grief through Alexander Payne’s ‘The Holdovers’ (2023)December 25, 2025 Tara Mathur
The Writer Who Had A Wand: A Journey With ‘Chaar Phool Hai Aur Duniya Hai’December 24, 2025 Kabir Deb
Column When Violence Becomes the Hero: Inside India’s New Wave of Adult-Rated Films Santosh Kumar Mamgain December 21, 2025December 26, 2025
Essay God Has Left The Building: Religion in John Hillcoat’s ‘The Road’ Adam Page December 20, 2025December 25, 2025
Essay Where Monsters Become Human: Identity and Otherness in ‘Nimona’ and ‘K-Pop Demon Hunters’ Nileena Sunil December 20, 2025December 25, 2025
Column Ten Years Later: How Kurzel’s ‘Macbeth’ Redefined Shakespeare Through Trauma Christopher Rhoten December 29, 2025December 30, 2025
Column Exploring Loneliness, Intimacy, and Grief through Alexander Payne’s ‘The Holdovers’ (2023) Tara Mathur December 25, 2025December 28, 2025
Column The Writer Who Had A Wand: A Journey With ‘Chaar Phool Hai Aur Duniya Hai’ Kabir Deb December 24, 2025December 27, 2025
ColumnReading Beyond the Silences: What the Different Voices Tell us about Support in “Mrs. Chatterjee Vs. Norway”April 23, 2023 Arpita Chowdhury
EssayThe Eerie and Fantastical Exhibition of Sam Raimi’s The Evil Dead TrilogyApril 18, 2023 Aravind Nair
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
Essay Why “Hungama Hai Kyon Barpa” is a Near-Perfect Tribute to Its Inspiration Ahendrila Goswami May 8, 2024
Article · Essay Phoenix (2014): “If I Do What You Tell Me, Will You Love Me?” Shahim Sheikh July 14, 2021
Article · Essay Yugant (1995) – Looking at Eco Feminism through the Prism of an Estranged Marriage Debanjan Dhar July 12, 2021
Article · Essay Directors From Parallel Cinema Entering Mainstream Bollywood Devraj Kalsi August 14, 2021
High On Films
