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
ColumnNeo-Kolkata Triptych? A Cinematic Inquiry into a Decaying MetropolisFebruary 13, 2025 Soumalya Chatterjee
Column‘The Wages of Fear’ and ‘Sorcerer’: A Comparison of Different PerspectivesFebruary 10, 2025 Abirbhab Maitra
EssayRobert Eggers’ ‘Nosferatu’ (2024): Changes and Continuity in Vampiric TraditionsJanuary 20, 2025 Kalpa Jyoti Bhuyan
ColumnRelationships in a Small Town in Nuri Bilge Ceylan’s ‘Kasaba’ and ‘Clouds of May’January 19, 2025 Abirbhab Maitra
ColumnA Tribute to David Lynch: An Impenetrable Visionary Who Lit Up The Darkest Recesses of Our MindsJanuary 17, 2025 Julian Malandruccolo
ColumnWhen the Divine Order Embraces Sacred Chaos in Edward Berger’s ‘Conclave’January 14, 2025 Akhila Krishnan
ColumnThe Sweet Ache of Youth: On the Tangled Thrills of ‘Licorice Pizza’January 13, 2025 Tanay Shrotriy
ColumnA Poetic Portraiture of The Working-Class Women in Payal Kapadia’s ‘All We Imagine as Light’January 8, 2025 Soumalya Chatterjee
ColumnHow Quentin Tarantino Subverts World War II Narratives through a Postmodern Lens in ‘Inglourious Basterds’?January 7, 2025 Abirbhab Maitra
ColumnStreams of Consequence: Ryusuke Hamaguchi’s Meditation on the Environmental Loss in ‘Evil Does Not Exist’January 6, 2025 Shubham Sharma
ColumnWhy ‘Blink Twice’ (2024) is a Bold but Flawed Exploration of Power, Revenge, and Feminism? January 4, 2025 Ritesh Sharma
ColumnCalling the Spade on Motherhood: 7 Watches and a Read to Cope With the Realities of Being a New MotherJanuary 2, 2025 Nikita Naiknavare
ColumnTangerine (2015): Celebrate Christmas with this Not-So-Typical Holiday FlickDecember 25, 2024 Ritesh Sharma
EssaySex, Power, and Representation: Analyzing Sean Baker’s ‘Anora’ Through Feminist and Auteur LensesDecember 23, 2024 Ritesh Sharma
Essay Decoding ‘The Batman’ (2022) Through the Lens of Classism, Vigilantes, and the Quest for Justice Sourajit Dey February 16, 2024
Essay There Will Be Blood (2007): The Fundamentals of Business From Daniel Plainview Balaganesh Kothapalli January 29, 2024
Essay Comparing the Characters of ‘Omkara’ to the Dramatis Personae of Shakespeare’s ‘Othello’ Vaani Udasi January 23, 2024
Essay Seeing Beyond the Sores: Unmasking Leprosy in the Malayalam Films Ashwamedham and Sarasayya Dr. Aparna Ajith January 23, 2024
Essay Transcendental Style as An Idea Of Being in the Filmography of Carlos Reygadas Maria Vatcharadze August 20, 2024
High On Films
