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When Reason Becomes a Voice: Masculinity and Power in ‘Alphaville’February 26, 2026 Bipasha Bhattacharyya
‘Kennedy’ and the Spectacle of Violence: Cop Cinema, Catharsis, and the Politics of BloodFebruary 24, 2026 Manav
Column On The Functional Intimacy Of Shruti And Bittoo In ‘Band Baaja Baaraat’ (2010) Tanay Shrotriy February 22, 2026February 26, 2026
Column Black Honey (Molasses, 2010) and the Idea of Conditional Nostalgia in an Unequal Homeland Masa Awartani February 22, 2026February 26, 2026
Column Who Writes Reality? Narrative, Madness, and the Fragile Architecture of Truth in ‘In the Mouth of Madness’ Guilherme Quireza February 21, 2026February 24, 2026
Column Bruges as Purgatory: A Moral Landscape for the Damned Adam Page February 26, 2026March 1, 2026
Column Model Minority: How ‘America’s Next Top Model’ Policed Blackness Aja Haymore February 26, 2026March 1, 2026
Column When Reason Becomes a Voice: Masculinity and Power in ‘Alphaville’ Bipasha Bhattacharyya February 26, 2026March 1, 2026
Column Why is Palm Springs a Better Existential Comedy than Groundhog Day? Ritesh Sharma August 21, 2024
Column Sean Baker’s Raw America: Untold Stories of the American Dream Momchil Draganov April 7, 2024
Column Game of Thrones vs. House of the Dragon: Comparing the Iconic Fantasy Series High on Films April 3, 2024
Essay How the Screenplay of ‘Past Lives’ Nurtures its Deep Emotional Core Shivani Muralikrishna August 21, 2024
Column Charlie Chaplin’s ‘The Great Dictator’ is a Hilarious Denunciation of Fascism Arunima Das March 26, 2024
Column Why is Gary Oldman’s Gritty Drama ‘Nil By Mouth’ the Most Underrated ’90s Film? Richard Thompson March 2, 2025
