Honorary General Secretary Shariffah Ili Hamraa recommends music for fans of the fictional titular songstress of Shunji Iwai’s All About Lily Chou-Chou (2001).

Henrique Bravo draws insights on the broader Bhutanese political scene within his review of Pawo Choyning Dorji’s The Monk and the Gun (2023).

Programmer Venesya Ko critiques the reworked characterisation of well-beloved characters in the new Netflix live-action Avatar: The Last Airbender, questioning the value it adds to the Avatar franchise.

Jeongrak Son ponders on Wim Wenders’ stoic representations of sorrow and the mundane, writing about the Kōji Yakusho-starrer Perfect Days (2023).

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.

Programmer Venesya Ko ruminates on Past Lives (2023), and the tender manner it portrays the complexities of human relationships over time.

Asish Moturu delves into The Lobster (2015), an absurdist black comedy about relationships in an imagined dystopia, and examines its critique of modern society.

Mohamed Shafiullah contemplates the film adaptation of Rumaan Alam’s novel of the same title Leave the World Behind (2023), set in a dystopian, apocalypse-ridden America.

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.

Okky Prabowo critiques the latest superhero flick Aquaman and the Lost Kingdom, starring Jason Mamoa as the titular character, and questions the manner movies made in the present day tackle the theme of climate change.

Kuo Yi Quan delves into the role nature and urban spaces come to a head in the Taiwanese film The Falls (2021), set during the COVID-19 pandemic.

Akanksha Joshi questions how nudity has been portrayed by Sam Levinson, American filmmaker and actor, in his television shows Euphoria and The Idol.

Content Creator Goh Cheng Hao reviews Lila Avilés’ film Totem (2023) which explores the plurality of illness through a child’s point of view.

Content Creator Phyllis Chan writes a moving and powerful rumination on the Chinese docudrama Tedious Days and Nights, which exposes the current lives of former poet-activists in Mainland China.

Editor-in-Chief Rhea Chalak reviews a film with a lot of buzz surrounding it, especially in the Western film circuit: Yorgos Lanthimos’ latest black comedy Poor Things (2023).

Editor-in-Chief Rhea Chalak reviews Chinese-language film Buddha Mountain (2010), directed by Li Yu and starring Fan Bing Bing.

Content Creator Phyllis Chan reviews Ryan Benjamin Lee’s The Parade, an animated short that explores the intricacies of politics and individuality.

Content Creator Phyllis Chan reviews JT Trinidad’s short film the river that never ends (2022).

Vice-President Fidel Tan reviews Ryusuke Hamaguchi’s latest film Evil Does Not Exist (2023), following the themes of capitalist greed and gentrification in conflict with nature.