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
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
Essay Revisiting ‘Taare Zameen Par’ after reading Carl Honoré’s ‘In Praise of Slowness’ Ayan Dawn November 20, 2025November 23, 2025
Column Stitched Souls: Identity and Emotion in Guillermo del Toro’s ‘Frankenstein’ (2025) Shivangi Thakur December 1, 2025December 1, 2025
Column Blood in Eden: The Ideological Origins of Ryan Coogler’s ‘Sinners’ Dan Flattery December 1, 2025December 1, 2025
Column · JioHotstar · Streaming Now Buddhadeb Dasgupta’s ‘Swapner Din’ and the Politics of Vanishing Identities Gourab Saha November 30, 2025December 1, 2025
ColumnHow Quentin Tarantino Subverts World War II Narratives through a Postmodern Lens in ‘Inglourious Basterds’?September 3, 2025 Abirbhab Maitra
ColumnFourth Wall Break in Cinema and Its Relationship with Brechtian Dramaturgy September 2, 2025 Subhankar Das
ColumnBeyond Statistics: How Ray’s ‘Ashani Sanket’ Resurrects the 1943 Bengal FamineAugust 31, 2025 Sumedha Chatterjee
ColumnThe Optical Residue of a Nation: Fragments from Route One USA (1989)August 29, 2025 Pulkit Sharma
ColumnHow Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost in Translation’ Turned Loneliness Into CinemaAugust 29, 2025 Sumedha Chatterjee
ColumnHigh Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music August 28, 2025 Aja Haymore
ColumnGuru Dutt’s Bombay Noir and Anguish Regarding the Emergent Urbanity August 25, 2025 Damayanti Ghosh
ColumnLong Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated ComedyAugust 23, 2025 Naveed Zahir
ColumnFractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (1975) Through a Lacanian Lens in Post-COVID TimesAugust 20, 2025 Ishani Routh
ColumnEmancipation and Labour: An Existentialist Analysis of ‘Mrs.’ (2023) as a Tale of Labour Exploitation August 20, 2025 Santosh Kumar Mamgain
ColumnUnderstanding the Post-Partition Riverscape of Padma in Ghatak’s ‘Komal Gandhar’ (1961)August 18, 2025 Keshab Ray
ColumnThe Art, the Artist, and the Astaire: How ‘The Band Wagon’ (1953) Deconstructs Cinema’s Greatest DancerAugust 18, 2025 Jack Keating
ColumnCaste Was Never Part of My Story Until It Was: Featuring ‘Dhadak 2’ (2025)August 16, 2025 Sneha Roy
Radical Solidarities in Dan Trachtenberg’s ‘Predator: Badlands’: Posthuman Bonds at the Edge of the Galaxy
Essay The Art Vs. Artist Discourse: Reassesssing The “separation” Paradigm In Film Anju Devadas September 2, 2025
Essay Why Women Centric Films in Hindi Cinema are not Necessarily Feminist Films? Santosh Kumar Mamgain August 23, 2025
Essay I Speak in Three Languages, Write in Two, Love in One: ‘Lootera’ and Romance in Vernacular Damayanti Ghosh March 15, 2025
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
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