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

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.

Guest Writer Adrian Ho dives deeper into Steven Soderbergh’s career, with a focus on Presence (2025) and Black Bag (2025), which were both released this year.

Making room in the psychiatric facility — Staff Writer Mohamed Shafiullah reviews Nicolas Philibert’s documentary, At Averroes and Rosa Parks (2024).

Antidote (2024) celebrates ordinary individuals coming together to expose Vladimir Putin and his regime, but excessively over-dramatises to get its point across, President Daryl Cheong writes.

Through an incisive comparison of Gillo Pontecorvo’s 1966 La Bataille D’Algers and Frantz Fanon’s 1961 Wretched of the Earth, Umar Al Khair Bin Zainal Muttakin pens a powerful essay about colonialism, rooted in both the past and the present.

Honorary General Secretary Shariffah Ili Hamraa dissects Tommy Wiseau’s The Room (2003) and explores what gives it its cult status.

Mimi Ssa exposes the gothic nature of disconnection within Bodies Bodies Bodies (2022) within spaces occupied by youth growing up on the internet.

Kishore Kalaichalvan ruminates on Kogonada’s film After Yang (2021), about a family living in a futuristic America that is faced with love and loss after their AI helper breaks down.

Content Creator Goh Cheng Hao questions the portrayal of queerness within film.

Content Creator Phyllis Chan reflects on NTU Film Society’s recent film of discussion, Stanley Kwan’s Rouge (1987), through the lens of Derrida’s Hauntology.

Vice-President Fidel Tan kickstarts our publication Exposure by exploring Spike Jonze’s meta-dramedy film, Adaptation, based on Susan Orlean’s 1998 nonfiction book The Orchid Thief.