Konstantinos writes about Found Footage and its long-standing popularity in the horror genre.
Konstantinos makes a case for VFx as an effective storytelling tool.
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.
Why watch a movie? Why write about it? Madhu has questions, and maybe some answers.
Ramchander’s notes from Sg.SAIFF 2018.
A short interview with the team behind MFSC.
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).
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.
Martha reports from die Seriale, the oldest festival in Germany dedicated to independent web and digital series.
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.
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.
Ramchander writes about the Iranian film Disappearance, which won the award for Best Asian Feature at SGIFF 2017.
Ramchander writes about the Thai film Malila The Farewell Flower, one of the films in competition at the Singapore International Film Festival 2017.
Ramchander writes about the Israeli film Scaffolding, one of the films in competition at the Singapore International Film Festival 2017.
Kishor talks to us about creating video essays on Tamil cinema for his YouTube channel Moving Images.