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.
சுயாதீன தமிழ்ப் படமான ரெவலேஷன்ஸ் தனித்தன்மை பெற்றிருப்பதற்குக் காரணமான கலைநயத் தெரிவுகளை விவரிக்கிறார் நிலவழகன்.
Michael Clancy looks at how space has been used in Akira Kurosawa’s High and Low.
Anusha Srinivasan writes about how the movie Ruby Sparks almost subverts the Manic Pixie Dream Girl trope.
Ajay explores how the TV show Star Trek: The Next Generation explores the ideas of virtual and augmented reality through its plot lines.
Rafaella Britto writes about Devi, the Satyajit Ray movie that explores the relationship between femininity and divinity in a patriarchal society.
Rafaella Britto escreve sobre Devi, filme de Satyajit Ray que explora a relação entre feminilidade e divindade em uma sociedade patriarcal.
K Balamurugan writes about Tamil cinema in Malaysia, the groundbreaking movie Jagat (2015), and relating to it as a boy growing up in Malaysia of the 1990s.
கே.பாலமுருகன் மலேசிய தமிழ் சினிமாவையும், ஜகாட் திரைப்படத்தின் தாக்கத்தையும், 1990களின் மலேசியாவில் தனது பால்யத்தையும் தொடர்பு படுத்தி எழுதியுள்ளார்.
Aashish Gadhvi examines how Hindi cinema portrays the Indian abroad, and how this has changed over the years.
Jeyannathann Karunanithi writes about the politics of the Tamil movie Kabali. He argues that we must familiarize ourselves with the socio-geographic-historical landscape of the movie before we pick it apart.