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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
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
ColumnFrom Slumber to Wakefulness: An Analysis of Sleep and Being Awake in Adoor Gopalakrishnan’s ‘Kodiyettam’ (‘Ascent,’ 1978)October 29, 2025 Jubin Abraham
ColumnSeeing ‘Sir’ Through Dalit Feminist Gaze: Love Amid Inequality October 29, 2025 Priyanca Ambalvi
Column ‘Titli’ and the Fragile Dream of Becoming Free in Contemporary India Bipasha Bhattacharyya January 19, 2026
Column Sartorial Storytelling and Bacchanalian Rites: Intertextuality and Social Stratification in Luhrmann’s ‘The Great Gatsby’ Vasundhara Parashar January 17, 2026
Column Bound By Obsession: The Mutually Assured Destruction of Mozart and Salieri in ‘Amadeus’ Bella Madge January 17, 2026
Column What “English Vinglish” Reveals About Adult Learning in Indian Cinema Madiha Ali January 27, 2026
Essay Energy, Reincarnation, And Cinema: Storytelling From The Sixth Sense To Hawa, Through Amitav Ghosh’s “Ghost-Eye” Kabir Deb January 26, 2026
Article Sentimental Value: Joachim Trier Breaks Down the Cinematic Influences Behind His Masterpiece Naveed Zahir January 26, 2026
Column Days and Nights of Love and War: “Ikkis” is the Warm Hug This Country Needs Soumalya Chatterjee January 14, 2026
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
