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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
ColumnA Half-Hearted Endeavor: The Struggle to Portray the Kaleidoscope of Realism in Netflix’s ‘One Hundred Years of Solitude’December 23, 2024 Soumalya Chatterjee
Column26 years of The Blair Witch Project: A Convention-Breaker that Banked on Fear that Crawled into Your Psyche December 20, 2024 Divy Tripathi
ColumnDirge of Resistance: Unveiling Patriarchy and Power in ‘Mirch Masala’ (1987)December 13, 2024 Soumalya Chatterjee
EssayWatchmen: The Often-Overlooked Differences Between Zack Snyder’s Movie and Alan Moore’s Graphic NovelDecember 3, 2024 Mohan Kumar
ColumnFrom Cannes to the Commons: Why Fargeat’s ‘The Substance’ Reflects The Liberal Paralysis?November 30, 2024 Shubham Sharma
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ColumnA Perspective on Fate, Chance, and Meaningful Connections in ‘Serendipity’ (2001)November 22, 2024 Janani Vaiyapuri
ColumnThe Decline of Integrity in National Film Awards: Politics, Controversies, and Compromised ExcellenceNovember 21, 2024 Santosh Kumar Mamgain
ColumnDeath Becomes Her: How The OG ‘Substance’ Succeeds Where its Successor FaltersNovember 20, 2024 Jamie Carlstrand
ColumnThe Perfect Intersectional Gay Romance in ‘God’s Own Country’November 20, 2024 Ayrton-Lewis Avery
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ColumnChildren of Men: The Dystopian Nightmare That Mirrors Our World TodayNovember 4, 2024 Mohan Kumar
ColumnThe American (Joika, 2024): Relentless Pursuit of Identity and Belonging in the World of BalletOctober 27, 2024 Shinji Alizeh Majumder
Essay‘Girls Will Be Girls’ Is an Intimate Love Letter to Girlhood & Those Who Missed Out on TheirsOctober 25, 2024 Sakshi Salil Chavan
Essay Prem Pujari (1970) – Complicity of Dev Anand’s Stardom in the Construction of Toxic Nationalism and Patriarchal Rules Nikhil Sanghotra November 8, 2023
Essay The Trappings of Nostalgia: On Wooderson, Dazed and Confused, and the Cinema of Richard Linklater Aneesh Raikundalia July 30, 2025
Essay When Auteurism meets Mythology: How Effective is The Killing of a Sacred Deer’s Rendition of Greek Allegory? Aadesh Gupta July 10, 2024
Essay Adulthood is Learning Vulnerability: An Analysis of Kiki’s Delivery Service (1989) Beatrice Gangi October 7, 2023
Essay Concept, Rhythm, and Horror: Oppenheimer as an Accumulation of Nolan’s Filmography Aadesh Gupta August 21, 2024
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