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
ColumnIn ‘Lokah,’ Malayalam Cinema Finally Lets a Woman Wear the Cape September 12, 2025 Akhila Krishnan
ColumnThe North–South Divide in Indian Cinema: Tropes, Stereotypes, and Cultural MisstepsSeptember 6, 2025 Santosh Kumar Mamgain
ColumnHow Does Tarantino’s ‘Pulp Fiction’ (1994) Condemn American Nihilism?September 5, 2025 Georgia May
ColumnHow Quentin Tarantino Subverts World War II Narratives through a Postmodern Lens in ‘Inglourious Basterds’?September 3, 2025 Abirbhab Maitra
ColumnFourth Wall Break in Cinema and Its Relationship with Brechtian Dramaturgy September 2, 2025 Subhankar Das
ColumnBeyond Statistics: How Ray’s ‘Ashani Sanket’ Resurrects the 1943 Bengal FamineAugust 31, 2025 Sumedha Chatterjee
ColumnThe Optical Residue of a Nation: Fragments from Route One USA (1989)August 29, 2025 Pulkit Sharma
ColumnHow Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost in Translation’ Turned Loneliness Into CinemaAugust 29, 2025 Sumedha Chatterjee
ColumnHigh Notes and Low Notes: How ‘Highest 2 Lowest’ Honors Generations of Black Music August 28, 2025 Aja Haymore
ColumnGuru Dutt’s Bombay Noir and Anguish Regarding the Emergent Urbanity August 25, 2025 Damayanti Ghosh
ColumnLong Story Short: Jewish Identity, Pandemic, and the Frame of Grief in Netflix Animated ComedyAugust 23, 2025 Naveed Zahir
ColumnFractured Mirrors: Andrei Tarkovsky’s ‘Mirror’ (1975) Through a Lacanian Lens in Post-COVID TimesAugust 20, 2025 Ishani Routh
ColumnEmancipation and Labour: An Existentialist Analysis of ‘Mrs.’ (2023) as a Tale of Labour Exploitation August 20, 2025 Santosh Kumar Mamgain
ColumnUnderstanding the Post-Partition Riverscape of Padma in Ghatak’s ‘Komal Gandhar’ (1961)August 18, 2025 Keshab Ray
Column Beyond Empathy: Homayoun Ershadi and the Radical Minimalism of ‘Taste of Cherry’ Shefali Khan December 21, 2025
Essay Harmony as Auteurism: Understanding the Impact of Director-Composer Collaborations Eshiv Garg December 21, 2025
Column Shared Guilt and Divergent Fates: Why ‘Dies Irae’ Feels Like Psycho’s Distant Cousin Gourab Saha December 21, 2025
Column Frankenstein Reborn: Del Toro’s Gothic Dream of Sight, Soul, and Salvation Shivani Muralikrishna December 21, 2025
Article · Column Hollywood Audiences are Done with Capes and are Hungry for Character Kay A. Oliver December 19, 2025
Essay Swords Too Have Blunt Sides: A Critical Essay On The Portrayal And Acceptance Of Antagonists In ‘Game Of Thrones’ Kabir Deb December 19, 2025
Essay You Talkin’ to Me? How Taxi Driver’s Travis Bickle Holds up a Mirror to Who We Are Adam Page December 19, 2025
Column Stitched Souls: Identity and Emotion in Guillermo del Toro’s ‘Frankenstein’ (2025) Shivangi Thakur December 2, 2025
