Upamanyu takes us through the process of making Wade, a climate change horror film.
Paroma writes about the animated film, The Breadwinner, set in Taliban-controlled Afghanistan.
Amit Agarwal writes about the newly released Netflix film, Axone.
Konstantinos lists ten of his favourite monologues from films and television shows.
Anusha writes about the men in Eeb Ally Ooo! and Nasir.
Julia Shiota revisits part of the legendary artist’s filmography.
Konstantinos has a few questions up his sleeve!
Shakila Zamboulingame analyses the representations of women in this iconic Tamil film from 1952.
Konstantinos writes about the film that gave audiences a peek into youth culture and English society during the Thatcher era.
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.