Konstantinos introduces us to a case study of existentialism through the lens, montage, and music.
Amarnath shares his thoughts after watching the documentary about NFL’s cheerleader problem.
Ramchander has questions after watching Gitanjali Rao’s animated film.
How many more remakes do we need? Is it the American audience’s demand to Americanise foreign successes, or Hollywood’s mania to prove they can do it better?
Konstantinos writes about some indie films that are… complicated, to put it simply.
Gréta Csernik writes about the recent rise of Hungarian cinema.
Csernik Gréta írja a magyar mozi közelmúltbeli megjelenését.
Konstantinos discusses the movie and the graphic novel that was a major influence.
Konstantinos reflects on the narrative and character development of the television series.
Sureshkumar listens closely to the “Married Life” montage from Up, to examine how music is married to the moving images.
Rose Dymock writes about the 1958 movie Shadows, directed by John Cassavetes.
Konstantinos writes about Found Footage and its long-standing popularity in the horror genre.
Madhu watches two contemporaneous Tamil movies and writes about them.
Omar Ahmed makes an impassioned plea for us to pay attention to the films that constituted this movement.
Konstantinos makes a case for VFx as an effective storytelling tool.
Iniyavan makes a list for us.
Amit Agarwal takes a close look at Mrinal Sen’s 1982 film Kharij.
Michael Derrick writes about Hollywood’s tryst with horror, and Nicolas Winding Refn’s polarizing film, The Neon Demon.
Kamila Kunda shares her passion for cinema that reflects the natural rhythms of life.
Gayathiri looks at how this issue is presented in The Red Thread (Spanish) and Sathi Leelavathi (Tamil).
Coco introduces us to Rob Carter’s stop-motion film Metropolis.
Ramchander argues that Pa Ranjith’s filmography is never lacking in form, even if such complaints abound.
Ramchander wonders why we seem to be seeing the same few stories over and over, when there are several more unfolding at any given moment in Chennai.
Anusha Srinivasan writes about Sancharram and Trembling Before G-d, films that talk about oft-ignored stories.
Letícia Magalhães writes about the history of film and film magazines, and how our perception of both has evolved in the last century.
Letícia Magalhães escreve sobre a história das revistas de cinema e cinema e como nossa percepção de ambas evoluiu no último século.
Sara Cousins writes about Sweet Country, a movie set in the Australian outback.
Jiya writes about her fascination for Horror stories, and why the movie Pari brings some freshness to this genre.
Nilavazhagan writes in great detail about the artistic choices that make the Tamil independent film Revelations stand out.