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
Column How Netflix is Recreating the “Snyder Cut” Phenomenon with Rebel Moon? Adil Rahim Hyder February 3, 2024
Column Placing “A Girl Walks Home Alone At Night” within “The Girls of Revolution Street” Protests of Iran Martha Bird December 25, 2023
Column On Healing and Coping: How ‘Mysterious Skin’ Succeeds in Portraying Abuse Stories Federica Giampaolo December 25, 2023
Column Why Punch-Drunk Love (2002) is the Greatest Romcom of All Time? Ritesh Sharma December 19, 2023
Column The Success of “Animal” Speaks to the Broader Pervasiveness That’s Sheathed Over The National Conscience Aryan Vyas July 15, 2024
Article · News Who is Deion Sanders from the Prime Video docuseries ‘Coach Prime’? Shikhar Verma December 15, 2023
Essay Transcendental Style as An Idea Of Being in the Filmography of Carlos Reygadas Maria Vatcharadze August 20, 2024
