(Spoilers? I suppose you are the type that claims the past is filled with spoilers. Well, I wish to return to it, so here’s your warning. Happy?) Though my experience of watching The Tsugua Diaries was largely pleasurable, questions about its unusual reverse chronological structure kept hovering over my head. This aesthetic choice certainly offers […]Read more "Covid and Community: The Tsugua Diaries (2021)"
(I wrote about Devi (1960) for Animus magazine. Here’s a small excerpt. You are still asking about spoilers? You would think you would be rational and learn. But I guess this spoiler obsession is religious in nature.) “I’ll convince him! I have all the latest arguments at my fingertips,” boasts the cocky Umaprasad (Soumitra Chatterjee), […]Read more "The Rationale of Myth: Devi (1960)"
I wrote an article for Ultra Dogme on Nishant (1976). Here’s a small excerpt from it: The temple jewels have been stolen. The villagers are dumbstruck, apprehensive of the vengeance of the gods. A villager remarks that this is a job for the police, and there is a cut to a gun hanging on the […]Read more "Master and Slave (Masculine) Morality: ‘Nishant’ (1976)"
My article was published in film companion. Here’s a small excerpt from it. The relationship between cinema and magic has been topsy-turvy, to say the least. Thearrival of cinema was heralded as some sort of spectacular magic trick – a piece oftechnical wizardry where the cinematographed reality appeared to collide with ourown. In its formative […]Read more "Back to One’s Roots: Kummatty"
My article was published in the Australian film magazine – Senses of Cinema. Here’s a small excerpt of the article which you can read on the site. From one angle, as Phillip Strick’s Sight and Sound1 review pointed out, The Shooting (Monte Hellman,1966) can be viewed as a classic revenge Western with the gender roles reversed. A woman, angered by […]Read more "No Exit: The Shooting"
(Spoilers, schmoilers. Hmph.) The combination of disability (mental and/or physical) and psychosexual horror is a delicate balancing act, to say the least. A well-intentioned film might try to rage against the common stereotype of disabled or “ugly” men as lecherous monsters driven by a murderous resentment of their more “well-endowed” counterparts, with the ugliness of […]Read more "The Masculinity of the Emasculated : Cairo Station"
( The shape-shifting spoilers make it impossible to tell if there are spoilers or not, so why don’t you hedge your bets and find out?.) Aside from the problems of genre classification (which is a non-issue, really), The Housemaid’s uncompromising provocation and oblique social critique make it difficult to parse morally. A shape-shifting phantasm whose unhinged camp […]Read more "The Unbearable Heaviness of Class: The Housemaid"
(All you need is love. Which means spoilers are superfluous. This also means that this review is superfluous regardless of the spoilers in it. So why care about the spoilers?) Riffing off multiple genres and sub-genres, cinematic touchstones and styles, actor personas and audience perceptions, cinematic fantasies and cinematic realities, Paul-Thomas Anderson’s (PTA) delightfully conflicting Punch-Drunk […]Read more "All You Need is Love: Punch-Drunk Love"
(The spoilers interact with my previously used spoilers, and its important to contexualise the spoilers through those. If you have read those previous articles, then fine, SPOILER ALERT!!! If not, it is better to forget that they exist :P.) The spectre of the past doesn’t just loom over the present, it inhabits the spaces between […]Read more "In Search of Lost Time : Phoenix"
( Disclaimer: I did not watch the film in 3D, but will still attest to its immersiveness in the 2nd half. Is it better in 3D? Probably. I can only make do with what I have.) (Since the film is elliptical, the spoilers are also elliptical, so you won’t know when it hits you. :P) […]Read more "Warped Subjectivity: Long Day’s Journey Into Night"