“gramsci's pessimissm of the intellect, optimism of the will”
In an increasingly materialist milieu, there are no permanent identities; friendship and security are prerogatives of vested class interests.
A completely new and pecular development to the post-Satya urban neorealism. The middlebrow character of realism in the first half becomes almost documentary-like interrogation in the second, revealing darker contradictions and revelations about the numbness of neon god. Tovino expands the myth of maathan and Rekha invokes her role from ramjirao speaking.
there is nothing remotely good about Viraata Parvam, part of it is vulgar left-infantalism and adventurism anchored by chronic contradictions posed by a subjective narration, the greater part it openly valorizes wilhelm reich's anti-marxist prescription of a sexual revolution to precede a social revolution. A total disaster of a film, counter-revolutionary to a point its more dangerous than facist propaganda.
You don't get to see things as they are in Vineeth Sreenivasan films. Women, bike, parents, awkwardness, sadness, death, heartbreak, marriage, sex or passing of time. Everything's either overromanticized or overdramatized. Women are not like how we see them, parents are airbags, connections are perpetual, time is numb.
Where even Karl Marx becomes a prop/ an object with the same value as a Calvin Klein underwear or Ray Ban glass.
I don't intend to say cinema needs to be realistic;…
'Nayattu' is dangerous anti-dalit propaganda. It not only Invisibilizes the fact that state machineries use the police force to commit mass atrocities on dalits, but even takes this on a toll by ironically creating an absurd political world which runs on writer Shahi Kabir's bizzare fallacy.
1. The drama stems from a small feud between a young dalit man and a middle-aged police officer (also a dalit) played by Joju George. The man spits on the police station's wall outside,…