Tamil commercial cinema delves deeper into intertextuality (mess) where your enjoyment of the film is related to your prior knowledge of another movie or characters. An entertaining way to deviate your attention from the somewhat lackluster script and superficial character sketches (poor Vijay Sethupathi! he has really tried to give his best, but...). Anyway, it's far more engaging compared to the many recent star-centered fiascos in Tamil cinema. I hope they really do a sequel involving Vikram, Dilli, and Rolex with a more robust script.
A visual documentation of a place that's as intimate and private like a diary entry. Reminded me bit of Naomi Kawase's early deeply personal works (shot mostly on Super 8 and 16mm). What Achabam tries to capture - bolstered by sublime music - is not just the materiality of objects within a space, but also the mood or feelings - something delicate as well as fleeting - that prevails in the space.
Keenly looking forward to your subsequent works Tridisha!
The one thing that immediately strikes you about Shubham's 'Even Fake Flowers Have Scent On Happy Days' is the brilliant and precise use of space. Loosely based on Murakami's lesser known yet interesting short story, "Kangaroo Communique', this short film is about a young man, recuperating after certain emotional aftereffects and trying to reconnect with or comprehend the world around him. And the tool he uses for this is intriguing. However, the challenge for first time filmmakers is finding a…
Desire for tranquility, emphasizing on impermanence or mono no aware (a term the Ozu-literate cinephiles would love to utter) are some of the enduring themes in Japanese cinema and literature. Takashi Koizumi's Letter from the Mountain is one such beautiful back-to-the-mother-nature story that unfolds in its own lulling pace with ample poignancy and pathos. It tells the tale of a middle-aged Tokyo couple who have moved to a farming village in the mountains in order to 'heal' themselves.