Stitched Souls: Identity and Emotion in Guillermo del Toro’s ‘Frankenstein’ (2025)December 1, 2025 Shivangi Thakur
Buddhadeb Dasgupta’s ‘Swapner Din’ and the Politics of Vanishing IdentitiesNovember 30, 2025 Gourab Saha
Radical Solidarities in Dan Trachtenberg’s ‘Predator: Badlands’: Posthuman Bonds at the Edge of the GalaxyNovember 26, 2025 Sourav Chatterjee
Essay Into the Heart of Darkness: A Trio of Hollywood’s Beautiful Catastrophes Adam Page November 24, 2025November 25, 2025
Column The Physics of Grief in Clint Bentley’s ‘Train Dreams’ Ben Bogdan November 21, 2025November 24, 2025
Column Creating an Ashoke Ganguli of his Own: Irrfan Khan in “The Namesake” Ahendrila Goswami November 20, 2025November 23, 2025
Column The Existential Horror Hidden in Eternity’s Rom-Com Glow Christopher Rhoten December 3, 2025December 3, 2025
Column Stitched Souls: Identity and Emotion in Guillermo del Toro’s ‘Frankenstein’ (2025) Shivangi Thakur December 1, 2025December 2, 2025
Column Blood in Eden: The Ideological Origins of Ryan Coogler’s ‘Sinners’ Dan Flattery December 1, 2025December 2, 2025
EssayMinari (2020) as More than Just a Family Drama: An Interpretation of the Film’s Marxist ThemesMarch 2, 2023 Shivani Muralikrishna
Essay‘EO’: Reimagining ‘Au Hasard Balthazar’ To Study Human Nature Five Decades LaterFebruary 27, 2023 Aryan Vyas
EssayCelebrating Secularism With Shahrukh Khan’s Pathaan (2023)February 22, 2023 Balaganesh Kothapalli
ColumnAction, Horror, and More: Inside the Colorful World of Timo TjahjantoFebruary 22, 2023 Joséphine des Aulnois
EssayDiscovering Steven Spielberg’s Magic: Why The Fabelmans and Close Encounters of the Third Kind Should be a Double BillFebruary 22, 2023 Rob Jones
EssayAnalysing the ‘New’ in Malayalam’s New-Generation Buddy Movies: Rani Padmini (2015) and Super Sharanya (2022)February 21, 2023 Krishnanunni Padinjassery
EssayFrom DDLJ to Rab Ne: How Aditya Chopra Created & Dismantled The On-Screen Persona of SRK’s RajFebruary 15, 2023 Aryan Vyas
EssayThe Seasons of Time: An Introduction To Post-Love Era, Based on Spike Jonze’s HerFebruary 12, 2023 High on Films
ColumnMarvel Cinematic Universe (MCU) Phase 4: What Went Wrong (and Right)?February 2, 2023 Rohitavra Majumdar
Article · Essay Directors From Parallel Cinema Entering Mainstream Bollywood Devraj Kalsi August 14, 2021
Article · Essay Understanding Charlie Kaufman’s I’m Thinking of Ending Things (2020) Mansi Arora July 14, 2023
Article · Essay The Portrayal of the Subaltern in Sachy’s Ayyappanum Koshiyum (2020) Krishnanunni Padinjassery September 27, 2021
Article · Essay Ozu’s Equinox Flower [1958] : The Autumn of the Patriarch Shahim Sheikh August 20, 2024
Article · Essay The Family Man (2021): Six Reasons To Watch The New Season High on Films June 8, 2021
Article · Essay The Handmaid’s Tale [2017- ]: A Reflection of Both the Past and the Future High on Films May 27, 2021
![Ozu’s Equinox Flower [1958] : The Autumn of the Patriarch](https://79468c92.delivery.rocketcdn.me/wp-content/uploads/2021/06/Equinox-Flower-768x575.jpg)
![I Am Cuba [1964]: When Propaganda becomes Poetic](https://79468c92.delivery.rocketcdn.me/wp-content/uploads/2021/06/i-am-cuba-thumb-768x477.jpg)
![The Handmaid’s Tale [2017- ]: A Reflection of Both the Past and the Future](https://79468c92.delivery.rocketcdn.me/wp-content/uploads/2021/05/handmaidstale306elisabethmoss-3-768x512.jpg)
High On Films