Staff Writer Isabel Ng Cardoso examines the patchwork of narratives that Alice Winocour weaves in Couture (2025), ruminating on whether the film and its title is an accurate reflection of the definition—or simply an echo of it.

Editor-in-chief Goh Cheng Hao reflects on Natalie Sin’s The 4PLY Clandestine System, premiering at the 36th Singapore International Film Festival (SGIFF), amid our culture of the viral online persona, representation, and tissue paper.

Staff Writer Mohamed Shafiullah reconsiders the elements that made Oz Perkins’ Longlegs (2024) such an effective thriller while anticipating his new film Keeper (2025).

Staff Writer Kyle Ashley Pillai tracks the cycles, cynicism, and beauty of decay in his review of Yorgos Lanthimos’ latest work.

Editor-in-Chief Venesya Mayvelie Kosasi reviews the second block of this year’s Transfiguration International Film Festival and recounts how the selection of films explore history and memory in fragments that ultimately foreground the personal narratives of the marginalised.

President Rhea Chalak reviews Kiwi gothic horror film Mārama (2025), which surrounds the journey of a young Māori woman fighting to reclaim her identity in 19th-century England.

Staff Writer Agastya Polapragada ruminates on what makes La Haine such a beloved classic in the cinematic world following NTU Film Society’s screening of the film earlier this semester.

Staff Writer Angelica Ng reviews the revolutionary epic Farewell My Concubine (1993), examining the beauty of theatre in the face of tragedy, tradition and love during a tumultuous period—brought to life by Leslie Cheung’s luminous performance.

Leading up to the Singapore premiere of the 4K Restoration of Kiyoshi Kurosawa’s Pulse (2001), staff writer Adrian Ho exorcises the concerns of the director’s preternatural filmography: the malaise of loneliness, and the banality of violence at the heart of modern technology.

Staff Writer Isabel Ng Cardoso ponders the futility of putting someone on a false pedestal in her exploration of how romantic idealisation is utilised or denounced in Damien Chazelle’s La La Land (2016) and Marc Webb’s 500 Days of Summer (2009).

Staff Writer Yu Ke Dong ruminates on film-as-archeology and the ways we engage with, reimagine, and supplement histories — through the eye of the camera, and the experience of the body.

In his thoughtful review of Jumana Manna’s documentary Foragers (2022), Programmer Umar Al Khair examines Palestinian resistance and encourages readers to question what it means to inhibit the positions we occupy.

Staff Writer Wong Dao En scrutinises the complexities of romance in a world rife with capitalism and consumption. Can love prevail?

Off its new IMAX rerelease, staff writer Angelica Ng relishes in the lush musicality and visuality of Hayao Miyazaki’s Princess Mononoke (1997), revisiting its timeless ecological message.

Guest Writer Tan Yan An shares his thoughts on the country’s first independently funded sci-fi feature, We Can Save The World!!! – a film that is bold, inventive, and full of heart.

Editor-in-chief Goh Cheng Hao dwells on the physicality of film and the intimacy of filmmaking in this piece examining Robert Beaver’s From the Notebook Of….(1971/1988) and filmmaker-artist duo Mark Chua and Lam Li Shuen’s expanded cinema performance We Are Toast.

As Emerald Fennell threatens the world with her impending Wuthering Heights (2026) rework, editor-in-chief Venesya Ko offers up some actually watchable literary adaptations to watch as alternatives.

Guest Writer Jeongrak Son unravels the 317 minutes of Ryusuke Hamaguchi's Happy Hour (2015).

Guest Writer Ryan Punith challenges the narrative behind Adam McKay’s doomsday film, Don’t Look Up (2021).