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).

Guest Writer Seth Yeong unpacks the cultural context behind Wong Kar Wai’s Chungking Express (1994), as well as the potential merits of style over substance.

Was it just for the views or does Tetris (2023) invite a search for deeper meaning? Guest Writer Abhijith shares his take.

Staff Writer Angelica Ng offers a different perspective of the idyllicism in Breakfast at Tiffany’s (1961).

Staff Writer Kuo Yi Quan goes behind the scenes of Saltburn (2023), a twisted black comedy thriller which gained immense controversy in many social media circles.

Editor-in-Chief Hannah Jade’s unserious review of the equally unserious film, Final Destination: Bloodlines (2025), the final installation of the beloved millennial series which features no apparent killer or supernatural apparition.

Guest writer Khushi Pai dissects the lesbian film that quickly garnered a cult following Bottoms (2023), and what makes it more than just a casual high school rom-com.

Staff Writer Jeffrey Chay details his surprising trip into the void (no pun intended) of Deadpool & Wolverine (2024).