Eternal Recurrence: Love and Memory in the Philosophy of Living through ‘Eternal Sunshine of the Spotless Mind’March 1, 2026 Bipasha Bhattacharyya
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
EssayThe Woman Who Wasn’t There: Her Memory, Her Geography, and the Ghost of Her, in the Cold War (2018)November 12, 2025 Bipasha Bhattacharyya
ColumnThe Magic and Meaning of ‘The Milagro Beanfield War (1988)’: Rediscovering Robert Redford’s Overlooked Masterpiece November 12, 2025 Kay A. Oliver
ColumnGet Busy Living: The Shawshank Redemption’s Philosophy of Purpose First, Hope Second November 9, 2025 Bella Madge
EssayThe Murder We Witnessed, The Life We Must Invoke: A Critical Analysis Of Shamya Dasgupta’s ‘Unmechanical’November 7, 2025 Kabir Deb
ColumnThe Autonomy of Sound in Ghatak – Part II: Sound, Liberation, and Unity in ‘Komal Gandhar’November 7, 2025 Sree
ColumnThe Autonomy of Sound in Ghatak – Part I: Sound, Silence, and Partition in ‘Subarnarekha’November 7, 2025 Sree
ColumnThe Burden of Grandeur: Revisiting Baahubali’s Idea of a ‘Magnum Opus’November 7, 2025 Lakshmi Muthiah
ColumnBreaking 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
Column30 Years Later: Why ‘Waterworld’ Was Never the Bomb Critics Claimed It To Be?November 6, 2025 Kay A. Oliver
ColumnA Temple of Idleness: Why Mallrats (1995) is the Most Sincere Film Among the Slacker CinemaNovember 1, 2025 Sebastian Sommer
ColumnThe Haunting That Lingers: Revisiting the Horror of ‘Lake Mungo’ (2008)October 31, 2025 Christopher Rhoten
Column Ecofeminism Through an Estranged Marriage in Aparna Sen’s Yugant (1995) Debanjan Dhar January 14, 2026
Column The Performance of Toiletry: Two Bollywood Female Protagonists and Self-Expression Ahendrila Goswami January 14, 2026
Essay The Portrayal of the Subaltern in Sachy’s Ayyappanum Koshiyum (2020) Krishnanunni Padinjassery January 14, 2026
Column Transmuting Financial Ruin and Forbidden Love into Plays Fit for a Queen in ‘Shakespeare in Love’ (1998) Vasundhara Parashar January 10, 2026
Article VistaVision and Real Stunts: Why PTA’s ‘One Battle After Another’ Is the Ultimate Analog Action Movie Naveed Zahir January 27, 2026
Column Ten Years Later: How Kurzel’s ‘Macbeth’ Redefined Shakespeare Through Trauma Christopher Rhoten December 30, 2025
Article Doom Approaches? ‘Avengers: Doomsday’ and the End of the MCU as We Know It Ollie Wheaton December 29, 2025
