Creating an Ashoke Ganguli of his Own: Irrfan Khan in “The Namesake”November 20, 2025 Ahendrila Goswami
Revisiting ‘Taare Zameen Par’ after reading Carl Honoré’s ‘In Praise of Slowness’November 20, 2025 Ayan Dawn
Strong Women, Strong Stories: How Female Characters Can Captivate AudiencesNovember 19, 2025 Kay Oliver
Column A Man of Many Faces: Remembering the Cinema of Tatsuya Nakadai Arun Kumar November 12, 2025November 17, 2025
Essay The Woman Who Wasn’t There: Her Memory, Her Geography, and the Ghost of Her, in the Cold War (2018) Bipasha Bhattacharyya November 12, 2025November 14, 2025
Column The Magic and Meaning of ‘The Milagro Beanfield War (1988)’: Rediscovering Robert Redford’s Overlooked Masterpiece Kay Oliver November 12, 2025November 14, 2025
Column Creating an Ashoke Ganguli of his Own: Irrfan Khan in “The Namesake” Ahendrila Goswami November 20, 2025November 20, 2025
Column Strong Women, Strong Stories: How Female Characters Can Captivate Audiences Kay Oliver November 19, 2025
Column Intimacy Without Words: The Silent Bonds of ‘Labour of Love’ Gopika Ashokan November 19, 2025November 19, 2025
Column5 Reasons Why an Arnold Schwarzenegger Cult Classic Outplayed ‘Mickey 17’?June 29, 2025 Gregory Austin
ColumnRewinding Emotion: The Power of Flashback in Vikramaditya Motwane’s ‘Lootera’June 28, 2025 Lagan Mangla
EssayDestination Moon at Seventy-Five: Reassessing a Pioneering Vision of Space, Science, and EnterpriseJune 28, 2025 Andrew Kidd
EssayThe French Dispatch: or All Great Beauties Withhold Their Deepest Secrets June 28, 2025 Hector Levya
ColumnTalking Through Privilege: The Whit Stillman Trilogy and the Art of Gentle DisillusionmentJune 24, 2025 Talha Younas
ColumnThe Face of Resistance: Sreemoyee Singh’s ‘And, Towards Happy Alleys’ (2023) is a Tribute to Jafar PanahiJune 23, 2025 Arghya Dattagupta
EssayFrom A-Listers to Crew Women, How Hindi Film Industry’s Feminism Rings Hollow Without Basic Dignity June 22, 2025 Sakshi Salil Chavan
ColumnRabid Cities, Abandoned Souls: ‘Black Dog’ (2024) as a Mirror to Modern ChinaJune 18, 2025 Abhay Yadav
ColumnMemory as Resistance: How ‘Hirak Rajar Deshe’ and ‘Chorus’ Speak for the SilencedJune 17, 2025 Ishani Routh
ColumnWhen Grief Haunts More than Ghosts: Exploring Loss in ‘The Devil’s Backbone,’ ‘The Three Burials of Melquiades Estrada,’ & ‘Don’t Look Now’June 17, 2025 Ajay Rahul Raja
EssayThe Crime Behind The Curtain: Looking Back at ‘Yavanika,’ a Cinematic Masterpiece June 16, 2025 Vaishnavi S
ColumnCan HOPE Survive Between TWO INDIAS? Karan Tejpal’s ‘Stolen’ Brilliantly Attempts To Find OutJune 15, 2025 Ayan Dawn
ColumnCharacterising the Space: The Cinematic Space as the Protagonist in ‘Laila Aur Satt Geet’ (2020)June 15, 2025 Sahil
Essay How the Screenplay of ‘Past Lives’ Nurtures its Deep Emotional Core Shivani Muralikrishna August 21, 2024
Article · Essay 53 Years of Anand (1971): Examining the Legacy of a Classic Santanu Das March 6, 2024
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