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 · Essay Secrets: An Invitation to Intrusion and Manipulation of Lives Carlos Luis February 24, 2021
Article Rajkumar Rao and Ayushmann Khurrana: Redefining the Definition of a Hindi Film Hero Tirna Chatterjee December 23, 2025
Article · Essay How Olivia Wilde’s 2019 debut film ‘Booksmart’ breaks stereotypes Tirna Chatterjee February 24, 2021
Article · Essay National Identity In The Romantic Aesthetic of Michael Powell Malu Barroso February 24, 2021
Article · Fan Theory · Review Steven Spielberg’s ‘Schindler’s List’ And Alain Resnais’ ‘Night and Fog’: A Comparative Analysis High on Films February 23, 2021
![Lookback at Hitchcock: Marnie [1964]](https://www.highonfilms.com/wp-content/uploads/2020/04/Marnie-1964-highonfilms1-768x418.png)
