Changing The Rules Of Seeing: Sylvia Sleigh’s Male NudesBy Amritesh Mukherjee 7 min read | Feb 9, 2026
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‘Mardaani 3’ And The Limits Of The “Strong Female Cop” NarrativeBy Ananya Shukla 5 min read | Feb 5, 2026
Progressive Mask, Regressive Portrayal: Why ‘Hot Spot 2 Much’ Is Pure RagebaitBy Vijaya Shankar O 5 min read | Feb 5, 2026
‘Exteriors’ By Annie Ernaux: An Archive Of The Transient Intersections Of Public Memory By Shreenithi Annadurai 5 min read | Feb 4, 2026
‘Twisted Lies’: Power, Consent And The Problem With Billionaire Romance By Gunn Bhargava 5 min read | Feb 3, 2026
Kartik Aaryan Rumour And The Familiar Trap: Turning Scrutiny On Women Instead Of Power DynamicsBy Mahi Adlakha 4 min read | Feb 2, 2026
The Privileged Feminism Of ‘People We Meet On Vacation’: A Review By Gunn Bhargava 6 min read | Feb 2, 2026
The Ephemerality Of A Rangoli And Art That Refuses To Be OwnedBy Anoushka Gadhwal 9 min read | Jan 30, 2026
Gender Confrontations: An Analysis Of Self-Portraits By Women Artists In IndiaBy Manashri Pai Dukle 6 min read | Jan 30, 2026
Luck Is Just A Grope Away: The Fetishisation Of The Bronze Body And The Haptic Violation Of Gendered ArtBy Raashi Agarwal 5 min read | Jan 30, 2026
‘Kaantha’ (2025): A Film About Filmmaking That Doesn’t Quite DeliverBy Shreenithi Annadurai 5 min read | Jan 29, 2026
