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
Article The Bourne Film Franchise Dodged Doom from Julia Stiles’ Original Ending Anushka Rao July 15, 2023
Column Reading Beyond the Silences: What the Different Voices Tell us about Support in “Mrs. Chatterjee Vs. Norway” Arpita Chowdhury July 15, 2023
Essay The Eerie and Fantastical Exhibition of Sam Raimi’s The Evil Dead Trilogy Aravind Nair July 10, 2024
Essay On Race Relations & Queerness in Todd Haynes’ Far From Heaven (2002) Jeffrey Davies July 8, 2023
Column The Dominance of the South Indian Films: Are We Witnessing a Fundamental Shift or A Passing Cycle? Arjun Niyogi April 23, 2023
Essay Searching for the Local Übermencsch: Joel Grey in ‘Man on a Swing’ (1974) Vassilis Kroustallis April 12, 2023
Column The Magical Realism of Pan’s Labyrinth & The Redefinition of Reality Beatrice Gangi April 23, 2023
