What The Law Cannot Hold: Cinema, Trans Lives, and the Limits of Recognition in Contemporary India March 28, 2026 Bipasha Bhattacharyya
Apu’s Women: Reading the Novels and the Film Trilogy Against their Historical Canvas March 23, 2026 Sree
Column What Lady Bird Teaches Us About the Cost of Economic Class and Independence? Puja Sinha March 20, 2026March 23, 2026
Column ‘If I Had Legs I’d Kick You’ and the Loneliness of Being a Mother Prapti Alam March 17, 2026March 19, 2026
Column A Žižekian Reading of ‘Assi’: Rape, Spectacle and Systemic Violence in Contemporary India Soumalya Chatterjee March 17, 2026March 19, 2026
Column ‘Didn’t Die’ and the Anatomy and Tone of a Modern Zombie Horror Film Akash Deshpande March 28, 2026March 28, 2026
Column Treasure Planet, or the Refusal to Give Up on the Lost Guilherme Quireza March 26, 2026March 26, 2026
Column How ‘Father Mother Sister Brother’ Finds Intimacy in Distance Bipasha Bhattacharyya March 24, 2026March 24, 2026
Article · EssayThe Kashmir Files: Does Loud Propaganda Negate An Unfortunate Incident In History?March 19, 2022 Aryan Vyas
Article · EssayWheel Of Fortune and Fantasy [2021] – A Complex Dish of Desire, Identity & Self-exploration served piping hotMarch 4, 2022 Pranjal Singh
Essay · Fan Theory · ReviewReading ‘Writer’ (2021) through a Marxist LensMarch 2, 2022 Jeeva Pitchaimani
Article · EssayChuruli (2021): A Transversal of Understanding Through the Debauchery of LanguageFebruary 15, 2022 Krishnanunni Padinjassery
Article · EssayShardul Thakur Comes Out of the Closet: A Nuanced Portrayal of Queerness in Badhaai DoFebruary 14, 2022 Ahendrila Goswami
Article · EssayBlind Chance (1987): A Flurry of Missed Opportunities Amidst Turbulent TimesFebruary 9, 2022 Pranjal Singh
Article · EssaySilence & Violence – How the Bank Robbery Scene in ‘Hana-Bi’ Discretely Disrupts Order, Whilst Maintaining its FacadeFebruary 4, 2022 High on Films
Article · Essay20 Years Of Harry Potter and The Sorcerer’s Stone: What Made The Wizarding World So EnchantingFebruary 4, 2022 Aryan Vyas
Article · EssayCulture of the Mad, Sad and Crass: The Asian Filmmakers Who Owned ItFebruary 3, 2022 High on Films
Article · EssayA Ghibli-esque Journey: The Immersive Realism of Studio GhibliJanuary 26, 2022 High on Films
Article · EssayWhy A Hero (2021) is Farhadi’s Close-Up; An Analysis of Farhadi’s Filmmaking Mechanics!January 23, 2022 Ashwani Kumar
Article · EssayRomanian Spring in World Cinema: A Spotlight on Romanian CinemaJanuary 23, 2022 Balachandran Chirammal
Article · EssayThe Lost Daughter (2021): The Portrayal of Motherhood in A Nonchalant Psychological DramaJanuary 21, 2022 Aqsa Aleem
Article Rainn Wilson Can’t Stand Elon Musk: Why ‘The Office’ Star Decided to Leave X Amritt Rukhaiyaar December 1, 2024
Column From Cannes to the Commons: Why Fargeat’s ‘The Substance’ Reflects The Liberal Paralysis? Shubham Sharma November 30, 2024
Column How Prem Kumar’s ‘Meiyazhagan’ Offers a Heartfelt Journey of Rediscovery, Connection, and Healing? Sayan Dutta November 25, 2024
Column A Perspective on Fate, Chance, and Meaningful Connections in ‘Serendipity’ (2001) Janani Vaiyapuri November 23, 2024
Column The Decline of Integrity in National Film Awards: Politics, Controversies, and Compromised Excellence Santosh Kumar Mamgain March 2, 2025
Column Death Becomes Her: How The OG ‘Substance’ Succeeds Where its Successor Falters Jamie Carlstrand December 3, 2024
Column The Perfect Intersectional Gay Romance in ‘God’s Own Country’ Ayrton-Lewis Avery November 20, 2024
Article Sisters’ Feud on Netflix: An Insane Telenovela Tale Packed with Twists and Shocking Betrayals Naveed Zahir November 14, 2024