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 From Provoking Anger to Evoking Nationalism: The Alarming Evolution of Propaganda Films In Bollywood in the Past Few Years Aryan Vyas October 4, 2023
Essay When Auteurism meets Mythology: How Effective is The Killing of a Sacred Deer’s Rendition of Greek Allegory? Aadesh Gupta July 10, 2024
Column The Little Grey Cells On Screen: Hercule Poirot and Cinema Joséphine des Aulnois October 2, 2023
Column The Rainbow Shades in ‘Guns and Gulaabs’: A Critique on the Show’s Representation of Queer Identity Sanjib Kalita September 29, 2023
Column Salma Hayek’s Feminist Activism in Kahlil Gibran’s The Prophet (2014) Hisham Muhammad Ali September 29, 2023
Article ‘Guy Ritchie’s ‘The Covenant’: Where was the film shot? – Filming Locations & Other Details Shikhar Verma September 23, 2023
Column 11 Social Setbacks Presented in “Skip and Loafer” And Ways to Deal With Them Jessica Balio September 21, 2023
