The Murder We Witnessed, The Life We Must Invoke: A Critical Analysis Of Shamya Dasgupta’s ‘Unmechanical’November 7, 2025 Kabir Deb
The Autonomy of Sound in Ghatak – Part II: Sound, Liberation, and Unity in ‘Komal Gandhar’November 7, 2025 Sree
The Autonomy of Sound in Ghatak – Part I: Sound, Silence, and Partition in ‘Subarnarekha’November 7, 2025 Sree
The Burden of Grandeur: Revisiting Baahubali’s Idea of a ‘Magnum Opus’November 7, 2025 Lakshmi Muthiah
Breaking the Cage in ‘Girls Will Be Girls’: Shuchi Talati’s Feminist Lens on Women’s Emotional and Sexual Psyche in South Asian Cinema November 6, 2025 Poddo Alam
Column 30 Years Later: Why ‘Waterworld’ Was Never the Bomb Critics Claimed It To Be? Kay Oliver November 6, 2025November 6, 2025
Essay The Razor-Sharp Critique of Capitalism in Lanthimos’s “Bugonia” Dhruv Jogdand November 5, 2025November 5, 2025
Essay The Hungry Ghost: Hollywood’s Struggle to Portray Addiction Adam Page November 5, 2025November 5, 2025
Column The Autonomy of Sound in Ghatak – Part II: Sound, Liberation, and Unity in ‘Komal Gandhar’ Sree November 7, 2025November 7, 2025
Column The Autonomy of Sound in Ghatak – Part I: Sound, Silence, and Partition in ‘Subarnarekha’ Sree November 7, 2025November 7, 2025
Column The Burden of Grandeur: Revisiting Baahubali’s Idea of a ‘Magnum Opus’ Lakshmi Muthiah November 7, 2025November 8, 2025
ColumnCaste Was Never Part of My Story Until It Was: Featuring ‘Dhadak 2’ (2025)August 16, 2025 Sneha Roy
ColumnGirls Just Like to Swing! My Observations and Reflections on Mira Nair’s ‘India Cabaret’ August 15, 2025 Nayan Jain
ColumnThe Real Rage Virus: 28 Years Later and Dreams of Nationalist NostalgiaAugust 15, 2025 Dan Flattery
ColumnWeapons of the American Dream: How Zach Cregger’s Weapons (2025) Reflects Today’s RealityAugust 13, 2025 Deepshikha Deb
ColumnCinema through the Lens of ‘Breathless’ (1960): Girls, Guns, and the Ghosts of Paris August 7, 2025 Naman Kumar
ColumnThe Return of ‘Chaotic Women’ in Indian Independent Cinema August 6, 2025 Bipasha Bhattacharyya
EssayThe Rajinikanth Effect: How Thalaivar’s Meteoric Charm Forged A Cultural PhenomenonAugust 5, 2025 Anju Devadas
ColumnThe Mockery of National Awards: The Fiasco of the 71st National Awards and What it Holds for the FutureAugust 3, 2025 Santosh Kumar Mamgain
EssayBeyond Bloodlines: Reimagining Kinship And Childhood In Hirokazu Kore-eda’s Cinema July 31, 2025 Anju Devadas
ColumnWhy do all the Contemporary Villains Sound Like They’ve Read Camus? July 30, 2025 Bipasha Bhattacharyya
Breaking the Cage in ‘Girls Will Be Girls’: Shuchi Talati’s Feminist Lens on Women’s Emotional and Sexual Psyche in South Asian Cinema
Essay Sexual Violence and the Objectification of Women in Hindi Cinema Santosh Kumar Mamgain March 8, 2025
Essay Robert Eggers’ ‘Nosferatu’ (2024): Changes and Continuity in Vampiric Traditions Kalpa Jyoti Bhuyan March 2, 2025
Essay Sex, Power, and Representation: Analyzing Sean Baker’s ‘Anora’ Through Feminist and Auteur Lenses Ritesh Sharma March 2, 2025
Essay Watchmen: The Often-Overlooked Differences Between Zack Snyder’s Movie and Alan Moore’s Graphic Novel Mohan Kumar December 3, 2024
Essay ‘Girls Will Be Girls’ Is an Intimate Love Letter to Girlhood & Those Who Missed Out on Theirs Sakshi Salil Chavan February 25, 2025
Essay ‘Melancholia’ (2011) and the End of Everything: Exploring Depression, Despair, and the Human Condition Mohan Kumar October 3, 2024
Essay Maddening Ambiguity & ‘The Heiress’ (1949): An Inspiration for Scorsese’s ‘Killers of the Flower Moon’ Emily Holland September 24, 2024
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