High Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music August 28, 2025 Aja Haymore
Long Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated ComedyAugust 23, 2025 Naveed Zahir
Fractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (Zerkalo, 1975) Through a Lacanian Lens in Post-COVID TimesAugust 20, 2025 Ishani Routh
Column Emancipation and Labour: An Existentialist Analysis of ‘Mrs.’ (2023) as a Tale of Labour Exploitation Santosh Kumar Mamgain August 20, 2025August 20, 2025
Column Understanding the Post-Partition Riverscape of Padma in Ghatak’s ‘Komal Gandhar’ (1961) Keshab Ray August 18, 2025August 18, 2025
Essay Beyond The Vamp: Silk Smitha, Stardom, And The Politics Of Desire Anju Devadas August 18, 2025August 18, 2025
Column High Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music Aja Haymore August 28, 2025August 28, 2025
Column Guru Dutt’s Bombay Noir and Anguish Regarding the Emergent Urbanity Damayanti Ghosh August 25, 2025August 25, 2025
Column Long Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated Comedy Naveed Zahir August 23, 2025August 23, 2025
Column‘Daredevil: Born Again’ as Political Parable – A Superhero Story in the Age of Authoritarianism April 29, 2025 Arijit Paul
ColumnFinding Beauty in the Absurd: An Existential Reading of ‘American Beauty’ (1999)April 29, 2025 Abirbhab Maitra
Column · FeaturedVishal Bhardwaj’s ‘Haider’: A Melancholic Symphony of Betrayal, Resistance, and RedemptionApril 28, 2025 Tapolabdha Dey
EssayUnpacking ‘A Minecraft’ Movie: Nostalgia, the Sad State of Modern Blockbusters and Corporate ConsolidationApril 28, 2025 Shivam Pota
EssaySuperboys Of Malegaon (2025): Faiza Ahmad Khan & Nasir Shaikh’s Cinephilic Legacy Finds Home In Bollywood & BeyondApril 24, 2025 Sakshi Salil Chavan
Column · Featured · Max · Streaming Now · TVHBO’s The Last of Us Dramatizes A Controversial Death From The Game, And It’s Just As BrutalApril 21, 2025 Debopriyaa Dutta
ColumnTranslating the Self Across Borders of Being in Mira Nair’s ‘The Namesake’April 14, 2025 Tapolabdha Dey
ColumnEchoes of a Life Fading into Silence in Avinash Arun’s ‘Three of Us’ (2023)April 8, 2025 Subhangi Biswas
ColumnIntimacy in The Digital Age: Spike Jonze’s “Her” as a Cinematic Mirror to our Technological Present April 8, 2025 Tapolabdha Dey
EssayThe Art Vs. Artist Discourse: Reassesssing The “separation” Paradigm In FilmApril 4, 2025 Anju Devadas
ColumnCinema as a Path to Transformation: The Power of Film to Shape Identity April 4, 2025 Emily Christine
ColumnRachel Zegler’s ‘Free Palestine’ Tweet Didn’t Kill ‘Snow White’—But Disney Wants You to Think It DidApril 4, 2025 Arghya Dattagupta
ColumnImmigration, Belonging, and the Search for Acceptance in ‘Flow’ (2024) April 2, 2025 Ajay Rahul Raja
ColumnThe Art of Awkwardness: Discomfort as a Storytelling Tool in Jim Jarmusch’s ‘Coffee and Cigarettes’ April 2, 2025 Tapolabdha Dey
Article · Essay Ridley Scott’s Gladiator (2000): Hollywood and the Road Always Taken Shahim Sheikh March 2, 2025
Essay Baba Yaga’s Bullet Ballet: John Wick and the Rebirth of Modern Action Cinema Aadesh Gupta July 20, 2024
Essay Chandu Champion: Kartik Aaryan Transforms Himself in This Tale of Indian Sisyphus Naina Rathi July 8, 2024
Essay Lost in Translation: How “Anatomy of a Fall” Captures the Difficulty of Representing Reality David Lobzhanidze June 22, 2024