Reviews

"Gaami" breaks free from Telugu cinema cliches, offering a profound and humane journey of self-discovery. Unlike most mainstream films that rely on sensationalism, director Vidhyadhar Kagita crafts a beautiful and artistic experience. So it's simple, if you're craving a racy plot, a formulaic hero worshipping, high moments, or some message at the end, "Gaami" isn't your movie. This debut film is a cinematic novel, exploring the relentless struggle (Sisyphean persistence) and emotional extremes of its main characters at the expense of flawed writing which isn't a big letdown. Every element, from editing, VFX, Art direction to Sound design manages to hold the film's atmosphere. Even the interval sequence challenges expectations. Unlike typical Telugu films that rely on a big bang or goosebumps, Gaami offers something different but not ordinary with just one day left to find the rare Mali Patra flower, the only solution as it breaks for interval. Many viewers remained glued to their seats, maybe they were expecting a goosepimple moment or intermission text. Of course, there's nothing wrong with crowd-pleasing interval bang and high moments, but Gaami proves we don't need the same formula every time. It's a shame that majority of audiences are accustomed to the fast pace of short videos, expect every movie to be like a 30-second Instagram or TikTok clip.

Even the finale perfectly exemplifies the films theme and pacing, Shankar's (Vishwak Sen) journey comes full circle in a satisfying way, without unnecessary exaggeration or resorting to theatrics. The ending is quiet, with a moment of silence and no music, followed by a bittersweet score as Shankar discovers the human touch, cure, healing, and redemption.

And now Gaami isn't flawless, the screenplay, while managing to be intriguing, could have benefited from tighter focus on parallel storylines compared to the impressive visuals. Editing choices feel jarring at times to cover up the budget, and some scenes might feel repetitive. The gore, though present, might not satisfy fans of horror and gorehound genre like me considering the film's A certification. But i feel the mainstream viewer might find even the existing gore unsettling. The attempt at a non-linear, anthology style narrative might feel like it overreaches and tests the audience's patience.

However, I have to admit some bias and give brownie points. The sheer effort and passion poured into this project, culminating in its release, deserves some credit. The film will likely draw comparisons to world movies, but showcasing its influences the film manages to stay true and rooted. It's important to note that Gaami leaves some questions unanswered, which might frustrate some viewers seeking complete melodramatic closure. While the film isn't flawless, its technical achievements and artistic merit are so strong that many of its shortcomings can be forgiven.

In summary, This DIY project later backed by UV creation is truly special for Telugu cinema. The film's unhurried pace, akin to a slow burn, might test majority of Telugu cine-goers and mass audience patience. It might not be for everyone but for those who appreciate artistic endeavors and support such daring attempt, this is a must-watch. Gaami is the kind of movie that passionate cinephiles must support and spread the word!

Now, I admit, I'm a bit late to the post it here. Originally planned for a February 8th on the ocassion of Kazuo Konaka's birthday, this review was on hold. But hey, better late than never, right? So, in honor of Mr. Konaka's birthday (and the power of bizarre cinema), let's raise a glass.

WTF in parts downright bonkers.

Imagine a mind-bending cocktail, swirling the religious fervor of "Love God" by Frank Grow (1997) with the anxiety of "We Await" (1996) by Charles Pinion, and throwing in a dash of "Videodrome" for worst measure. This sums up "Report on Latent Narcotic Substances in the Brain: Drugless" (1991). That's the fever dream of a film I never knew I needed until now. This fake documentary follows an "undercover" reporter as he infiltrates a secret society promising the ultimate high: unlocking a natural "drug" within the brain. As the lines between reality and delusion blur, the director himself becomes a casualty of his investigation, forced to reconstruct his shattered mind through a kaleidoscope of abstract visuals.

Not a long overdue, yet no less potent, comes this appreciation for one of my favourite filmmaker Ursula Reuter Christiansen's "Skarpretteren" (1973). While I extended my birthday wishes to Christiansen on February 13th, sharing this online slipped through. Nevertheless, the adage of "better late than never" holds true.

I keep revisiting "Heinrich" (1977) and i embarked on "Skarpretteren," and what a fortuitous decision it proved to be. This Danish short film, a mere 35 minutes in length, transcends mere cinematic brevity. It bursts forth with layered subtext and an unsettling beauty, weaving a tapestry that is both art and music, both grim and hopeful. The narration and score, despite their conciseness, leave an indelible mark on the viewer, resonating long after the credits roll.

The film's soundscape, a tapestry of cold, harsh, and even strangely harmonious notes, evokes a sense of traversing an endless snowstorm, a metaphor for the protagonist's arduous life journey. Christiansen crafts a deeply personal film, unflinchingly exploring the bitter experience of a woman objectified and exploited. We follow her on the windswept Danish island of Møn, a place where superstitious men prey upon the vulnerable.

In closing, "Skarpretteren" takes almost a nihilistic feminist sci-fi stark reality of a world where women confront both internal and external misogyny. It stands as a rare work that dares to delve beyond opaque subtext, utilizing its hauntingly beautiful music to amplify its message about the oppression of the feminine.

Wow!! Malayalam cinema delivers again! I'll say right away that the "Manjummel Boys' will be a bundle of emotion and a tug-of-war kind of feeling for those who are able to empathize. Personally, I was happy, afraid, angry, sometimes despairing and even choking with the characters for their redemption.

As to those who are familiar with the plot, Manjummel Boys is based on true story of a squad of 11 friends who hits the road for Kodaikanal in 2006. Laughter echoes in the hills, until one fateful step leads to a chilling truth: the Devil's Kitchen claims all who fall. Fear grips them, despair threatens, but their bond, a beacon in the darkness, ignites a desperate rescue mission. This a story deeper, where raw emotions paint a portrait of friendship forged in the face of the abyss. This is the thread which the film rides and successfully manages to be a winner. Despite the isolation of space, the film is very dynamic, both beneath and beyond. For some reason, the poster pushed me to the fact that this picture will be in the horror style, I expected to see zombie apocalypse and some internal conflicts that main characters experiences. Nothing aligned with my thoughts after the trailer but after watching it today and i would rather say i saw something more. I truly saw fear, despair, I saw a life drama filled with injustice and the tale of friendship in the midst of hopelessness.

Now about the game of actors - nearly everyone shines, with some moments reaching pure brilliance. Soubin Shahir delivers as always, but Sreenath Bhasi steals the show as the young atheist. He deserves a standing ovation for acting transmitting the whole palette of feelings of a person who is helpless and clinging to the slightest opportunity to see hope. Another great aspect of the film is the is cinematography by Shyju Khalid. It is stunning to witness all the shots taking a tonal shift when it turns macabre with every detail shown on the screen. Plus, the makeup team did wonders transforming Bhasi in the second half. Let's not forget the editing, Vivek Harshan deserves a shoutout for those incredible cuts, especially the way he blends Bhasi's cave scene with his childhood memories. He does the same with Soubin Shahir, creating one of the powerful moment in the film

The soundtrack is no less commendable. Sushin Shyam's soundtrack plays with light and dark, hope and despair, perfectly mirroring the film's emotional roller coaster. The pre-interval scene with Soubin Shahir's reaction with its stripped-down score, is brilliant, while the climax uses Ilayaraaja's iconic "Kanmani Anbodu Kaadhal" to deliver a gut punch of emotion. This genius homage to the evergreen classic from Kamal Hassan starrer "Gunaa" which leaves a lasting impact.

Final thoughts, Malayalam cinema continues to shine! After recent hits like "Attam," "Abraham Ozler," "Premalu," "Anweshippin Kandethum," and "Bramayugam," "Manjummel Boys" joins the list of must-watch films. This honest, smart film boasts of excellent performances and technical prowess. While not flawless, after all the emotional upheavals that you experience with the "Manjummel Boys", this film can be forgiven a lot. I want to say this is a testament to the director Chidambaram's masterful execution and he expertly crafted it as a rollercoaster of emotions and a tale of friendship.

Bramayugam is truly an intense cinematic experience! It's the kind of film that stays with you long after the credits roll. I was riveted to my seat until the very end, captivated by both "The Beginning" and the hypnotic closure, "The Age of Madness." Even now, as I step out of the theater, i still feel like im stuck inside the eerie confines of Bramayugam's secluded mansion buzzing with emotions. It's fantastic to see the public embracing this messed up film.

Only Mammootty can acheive this feat on a godfarsaken mansion (pun not intended), we as an audiece are in company of Kondamon Potti shouldered by the megastar which is a masterclass in controlled chaos. He's joined by his ever-watchful caretaker (Siddharth Bharathan) and a runaway singer (Arjun Ashokan) seeking refuge. Their disparate personalities intertwine beneath the fragile veil of horror, revealing hidden depths and simmering tensions. Also an important decision was give to up on color. Either they wanted to strengthen the effect of isolation, or it helps to throw brownie points for gloomy atmosphere, or it is a tribute to the cinema of the first half of the last century, whether color distracts from what is happening and prevents you from focusing on the most important. There is a feeling that all these points combined led to this style for the successful and a brave attempt in Malayalam industry accentuated with some killer score by Christo Xavier and sound design by Jayadevan Chakkadath.

The film's horror DNA is meticulously woven, drawing upon the chilling atmospheres of classic era of Hollywood, especially the Hammer films, there is some unsettling surrealism of Gaillo, and the contemporary anxieties explored by A24 catalogue. This layered approach creates a hauntingly original experience using the local folklore. Theatricality of action unfolds in the minimum of scenery - the Mansion house, the courtyard territory, blown by all the winds, and, through the tunnel, the sacred path to the bewitching climax.

Megastar Mammookka's current filmogrpahy is really one of his best, if not the best. His frightening laughter, the expression on his face, his level of commitment - this role has no equal, unless of course the 'Devil' himself. He deserves to be in the nomination for every freaking best actor award across the globe. In the finale, Mammoty is so twisted with a battle, illuminated for a more sinister look and the camera statically shows only his face and mouth. In this moment, we as an audience experiences a range of emotions: anger, surprise, a little horror, disgust. All these emotions are visible and caught and this is not done for the sake of aesthetic buffoonery.

Final thoughts, this is no popcorn flick. The film's unhurried pace, akin to a slow burn, might test some viewers patience. But for those willing to surrender to confront the darkness, a powerful payoff awaits as the second half explodes with surreal imagery and shocking revelations.

Despite gradual progress in recent times, a deep-seated reluctance to openly discuss LGBTQ issues persists within the Indian sociocultural landscape. While more LGBTQ+ characters are appearing in Indian films, some portrayals have been criticized for being superficial and lacking authenticity. While it's encouraging that mainstream media is acknowledging LGBTQ+ issues, true progress will only be achieved when these portrayals move beyond tokenism and explore the complexities of LGBTQ+ experiences in a genuine and meaningful way. One such film which is Kaathal spearheaded and produced by the GOAT.

Coming to this film, in the heart of a tranquil village in Kottayam district of Kerala, Mathew Devassy (Mammootty), a seasoned man plunges into the fray of a byelection in his local gram panchayat, driven by the directives of his Leftist party. He dives headfirst into the political arena as the election fervor intensifies. However, a seismic revelation shatters Mathew's carefully constructed world - his wife, Omana (Jyotika), has initiated divorce proceedings, alleging in her filings that her husband is a homosexual. The story navigates through the conflict of personal struggles as he confronts unforgiving societal expectations and the fragility of human relationships around him. This setups for Matthew opening himself up to the world he had left behind, embracing the complexities of his identity and leading him to confront the societal prejudices that have long confined him. This thought-provoking film breaks away from conventional expectations, showcasing Mammootty's versatility and dedication to his craft. His willingness to take on unconventional roles further cements his status as a cinematic legend and allowing Jyothika and rest of the characters to shine alongside him. Jyothika's performance is arguably one of her best in recent years, despite occasional dubbing issues.

Applauds are due to director Jeo Baby, Adarsh Sukumaran, Paulson Skaria, and the entire Kaathal team for crafting this remarkable film. While its unhurried pace might not appeal to everyone, I found myself captivated by the story's organic unfolding, devoid of the need for external validation. Kaathal rewards its viewers with exceptional performances and a thought-provoking narrative, demonstrating its brilliance in its simplicity.

Love is everything it's cracked up to be. It really is worth fighting for, being brave for, risking everything for. " - Erica Jong.

"'For a while' is a phrase whose length can't be measured. At least by the person who's waiting." - Haruki Murakami.

"But it is easy to speak of the past, impossible to go there. I am powerful in ways you can only dream, yet I am still a prisoner of what I have done. I can never escape the cell I have made for myself. Things are what they are." - Joe Abercrombie.

The above quotes encapsulates the essence of "Sapta Sagaradaache Ello Side B" a film that has left me lingering in the ocean's hushed embrace, hours after dream-like conclusion. I am overwhelmed by the sheer depth and complexity of the feelings it has stirred within me, adrift in a sea of emotions, in the rhythmic cadence of the tides that defy articulation. In the heart of Bangalore, Manu's tale embark on a relentless quest for a closure, revenge and redemption. He still holds on to the echoes of past, the indelible regrets, unfulfilled wishes that have shackled his soul. Here in Part B Manu is a loafer, a tormented soul who still has nemesis from the past but only to find that his mind is his most formidable adversary. In this obsessive pursuit Manu transforms through voyeuristic lens, fixated on Priya, becomes consumed by her as his every thought and action revolves around her whereabouts and spending time with her child. This act can irk some people but it is shown as a momentary solace as the vibrant hues of memory dance within him, providing illusion of joy. Along the way, we as the audience begin to yearn to decipher the truth and hope the cracked mirrors mend. To uncover the enigma of Manu, one must bear witness to the film's captivating spectacle on the silver screen. Beguiled by SIDE A, i have been anticipating this day for a closure. I must say it a fitting finale, a hard hitting swansong and a sequel that is punctuated by unexpected musical interludes and subtle gags. Getting it right for a sequel has been a hit or a miss and not often does it satisfy viewer expectations. The blood-red climax is one of the standout sequence, i read some shallow cinephiles calling it as an unnecessary indulgence, overly gratuitous but ignore them. It will garner polar reactions, to each his or her own but i feel it is about time Rakshit Shetty takes up a mass hero role with good writing and the impact would been compelling.

Kudos to director Hemanth Rao and team for creating this technically sound of a film and a poetic gem that will stand as a towering testament for the Kannada film industry. Also, I suggest if anyone reading this to check out my review for SIDE A whenever you have a moment.

What a stunt! I was so impressed by the trailer and envisioned a psychological or mystical horror. Instead, it was a whodunit mystery accentuated by a strong cinematography and terrific background score. Kudos to director Ajay Bhupathi for presenting a title and trailer so artfully deceptive and this misdirection sets the stage for the film that somehow manages to meet the expectations in parts.

Coming to the story, it is a period drama centered around a string of inexplicable murders that cast a sinister shadow over the village every Tuesday. As wave of terror sweeps the inhabitants, a resolute police officer (Nanditha Sweta) takes charge and arrives to unravel the mystery that has cast a shadow over the community. Then we have a tonal shift as the narrative deftly interweaves the present with the past, introducing Shailaja portrayed by the vivacious Payal Rajput. Her life spirals into despair after falling prey to a deceiving schoolteacher. This event leads to a series of dire consequences that intertwine with the ongoing murders in the village. To uncover the happenings, the enigma of Shailaja's past and the motive behind these chilling killings is best to witness it on the big screen.

On the downside, the film's runtime is definitely overkill. Especially the first half as it progresses, it inspires little interest untill the introduction of Payal Rajput who has given it all for this film. Even the second half has speed breakers which diminishes the flow of narrative. You will also draw parallels to classic film's such as Kantara (2022), Ave Kallu (1967), Shhh! (1993), and one of the greatest series of all time Marmadesam (1996).

On the positive, the film's last few sequences and the climax makes up for the overall impact. It's good to see the director trying out something fresh, even the sex disorder angle could've been given interesting possibilities doesn't mean it is a bad idea but it will hold your attention post interval till the climax reveal. I'm sure the wild ride in the finale will make you overlook the film's earlier flaws. Fun fact for the actress fans -There's even a sequel!

This movie is one of the prime examples of enduring oneself in cinematic torture, and I find myself envying those who had the foresight to download this film instead of wasting their time and money at the theater. I wish the critically acclaimed Raju Murugan didn't indulge in pleasuring himself with visual appeal over narrative coherence.

This is solely made for the sake of aesthetic buffoonery. The gags are not organic, and the film feels forced from start to finish.

I would not recommend it to anyone, even those who loves the director's previous work or the fans of actor Karthi. I know Karthi has delighted audience with his creative endeavors churning out some good to passable films. But this film is desperate to be edgy and relevant that both the Director and cast forgot what it means to make a decent cinema.

In closing, this is a film that will make you wish you could get back the time you wasted watching it.

"To know and feel all this and not have the words to express it makes a human a grave of his own thoughts."

I want to begin the review with the quotes by metaphysical poet John Donne. I had recently quoted his poem for the terrific "Sapta Sagaradaache Ello: Side A (2023)," and "Three of Us" echoes the same yearning and ethereal feeling. It has been hours since I saw the latter, but I am still grappling with the film's emotions, like an outlander lost in a labyrinth. The profound impact is such that I have been daydreaming about alternative closures, vividly imagining the characters assuming different fates, especially Shailaja (Shefali Shah). I really tried to brush off the thought of putting together a movie in my mind. I knew that dwelling on it would only evoke a melancholic feeling, a stillness which sometimes is comforting, isolating, inviting thoughts and to ponder on life in a good way. This hit me so hard with its simplicity that I feel compelled to share something about it.

Coming to the story, those who have seen the trailer will have a general idea of the plot and it very much lingers on the same thread. It is a poignant film touching on the fading memories of a woman diagnosed with dementia as the mundanity of her life looms over her, like a heavy weight on her heart and mind. She had a sense of yearning to visit her childhood home set in the Konkan region of Maharashtra. Compelled by this longing for her childhood home, she embarks on a journey to confront the nostalgia, the echoes of guilt, and the regrets that have haunted her. She is accompanied by her husband Dipankar Desai (Sawanand Kirkire) who supports her quest. As the plot moves, her journey is captured with a nostalgic lens, congregating between worlds with a bittersweet intersection of a childhood crush Pradeep (Jaideep Ahlawat). From here we see so many emotions at play as the arrival of the latter begins to fill and create a void for the people involved and gradually results in fall out. But Shailaja who is now viewing the world through a foggy lens treads among the familiar streets of her childhood with her husband and former flame by her side. I don't want to delve more into the plotline as it is a tapestry of various emotions, inviting contemplation and reflection and an experience to be viewed in its own right.

I'm very hesitant to recommend it to everyone due to its pacing and the screenplay devoid of clichés which is its greatest asset. In the fast-paced smartphone generation sitting through "Three of Us" is a big yawn and it is definitely for the acquired taste. But this is the kind of movie that passionate cinephiles must support and SPREAD THE WORD. Kudos, to director Avinash Arun Dhaware and the team for this gem. Personally, this has to be his best considering his brilliant body of work. I love the choice of his characters and it hits the bull's eye in this film, they seem to complement each other very well. It is so tough to pick one as the best performance, everyone has aced it all around and gelled realistically to their respective character traits.

In closing, it is an experience to witness Shailaja in the forgotten yet flourishing garden of her memories and the question of whether she found solace and redemption must be savored as a bittersweet delight. You can smile but you're also about to feel sad but can't do either.

What an epic absurdity, it was completely bonkers that I loved so many things about this film. I didn't expect it to be this good, it was fun seeing both SJ Surya and Vishal breaking the law of physics and I hoped it didn't end.

With movies catering to a thirsty young crowd director Adhik Ravichandran has raised eyebrows with an average filmography in recent years. But I bet you this film will leave many gob smacked like how such a filmmaker with a track record of mediocre films can pull off something so damn quirky, absurd that I left the theater smiling.

As with most time travel movies, this treads along the familiar pattern of the characters going back and forth to prevent an incident with unexpected consequences. The film packs so much in the runtime as the leads switch places, and professions with a pile of trouble they keep getting into, trying to change their destiny. Between all the chaos we get some cool Ajith Kumar references and a tribute to Silk Smitha that makes it somewhat one of the wacky but funny sequences in the film.

Coming to the performances, the main quartet, and I mean both Vishal and SJ Suryah gets 2 different roles to play which is very entertaining. They give it all for the role of the mechanic and the gangster playing the role with so many popcorn reel-worthy moments. One of my favorite sequences is the phone conversations in the 2nd half when the mechanic son SJ Surya assigns a task to the Father and keeps pestering him with non-cerebral entertainment. Please do check out my review for Thupparivaalan and you may notice that I had no hopes for Vishal and this is best, he had so much fun donning the Father and the Son role. The Climax anaconda sequence was madness, it is accentuated by over-the-top score by GV Prakash.

Finally, I want to say this is a really ambitious, complicated, and brave attempt by the team to provide good cinematic popcorn entertainment is highly recommended.

"More than kisses, letters mingle souls"

Here we have letters, tape recorder and a sea. I want to begin the review with the quotes by metaphysical poet John Donne. This is one of those melancholic films that will evoke a ruminative feeling.

As 2023 is preparing to draw it's curtains with 4 months to the end of the year, i am feeling so ecstatic to start the month of September with Sapta Sagaradaache Ello Side A. Being a huge fan of the RRR (Rakshit Shetty-Rishab Shetty-Raja B Shetty) of Kannada cinema, i have immense gratitude for the triumvirate. They have gone all out to be part of Good cinema for more than a decade with a number of successes and having a huge share of buzz over the years. There can be no negativity made about the RRR's when it comes to their contribution to Kannada Cinema. In addition, Rakshit and Rishab backing indie projects like Saakutumba Sametha and the upcoming Shivamma and Pedro to that extent going all out, I really have to give them the utmost respect. I have greatly apotheosized them and if you have a moment do peep my reviews on this site for Kantara, GGVV, 777 Charlie and Varthamana. I will also, recommend cinephiles to hunt down MS Prakash Babu's Attihannu Mattu Kanaja and check out Pinki Elli? (2023).

Coming back, i have to say right from the first frames, accompanied by the brilliant title track the movie is packed with quintessence of everything cinema. In principle, I got an idea what would happen in this film going by the trailer - a doomed loved odyssey that changes lives of the leads due to the unfortunate turns of fate. I was so right, but let me tell you that SSE is a bittersweet love story, but so much more below the surface like how the sea.

At the very beginning of the film, post title credits, we see a couple driving along a quite street as the guy in full adrenaline rush behind wheel keeps going fast while the girl keeps reminding him to halt. We are now introduced to Manu (Rakshit) and Priya (Rukimi Vasanth) as it establishes the character trait for both. The first half of the film has lot of moments between Manu and Priya with usual lovesick conversations, banters and it holds on really well. They have dreams, hoping to seek a bright future, and settle down in a house located near the beach which is chosen as the background and a leitmotif - the feeling of tranquility. Manu is framed to cover up for a mess, he accepts the offer, some money and to do some time in jail for 3 months. Manu gets a buddy in jail while Priya longs to see him, this separation is unbearable for both with little room for hope till the pre interval. I would like to say a more, reveal about what happens next but don't want to spoil it for other viewers or readers.

Coming to performances, i loved the Priya who is an aspiring singer, a lovesick and talks endlessness about the sea and spends time by yearning for Manu. She is forced to constantly be disappointed with things going around her but does not lose hope. Especially the grief and the emptiness in her character and, above all, to not let go of her dreams is showcased without a very little overkill. At some point, you understand that she need these dreams fulfilled. I love how she always takes an upper hand when it comes to being mature and this is established in the beginning of the movie.

Rakshit Shetty as Manu did a great job, he is someone who doesn't have any buddies or bar friends, living a boring life and there is nothing remarkable about him. Everyday he works as a driver and yearns for Priya and in all this routine he dreams to fulfill her wishes which brings more trouble. He was so damn good in the jail sequences longing for escape in the grip of alienation and is backstabbed twice.

Also, Pavitra Lokesh did a fine job as Pirya's mother, she gets one of my favorite moments in the 2nd half. Knowing what her daughetr wants, sincere and respecting her feelings she talks about grief, the unbearable pain but the pleasure to overcome it.

Now the background score by Charan Raj who is once again at the top of his game. The musical world is an integral part of storytelling and emerges as a separate character in the film which is highly evocative with a lot of aesthetic impact in the musical cues. The entire movie benefited from the bgm as it is promised in its title and works like a mood piece to accentuate the experience.

I applaud Director Hemanth Rao's decision to avoid descending into the backstory of Manu and Priya with proceedings of how all it began, how they fell in love and cut to flashback with love songs and forced cringe cute moments. Sigh, a major relief and the tone of the film is maintained throughout the runtime, I am so glad that we won't be drawing comparison or find heavy similarity wth the films made by Rakshit's fellow countparts. The Drama here is undramatic rather than deliberate with a bit of influence from Hong Kong cinema and Thai new wave, which is by no means a let down.

Hemanth Rao did not inoculate with a happy ending, but does a good job in the pre climax sequence which really got me excited and the Side B tease is now awaited with applause. The reveal of Priya's marriage was shocking and I can't wait to see more of Katthe, Putti and the SSE world.

There is no use or a great deal put by director Vasan Balan to understand the philosophy around mental health. The theme is explored in a mediocre or cliche driven ways by the filmmaker. I somehow managed to like the first half and it felt like it didn't matter which ephemeral side of 'good' or 'bad' but a grey line - the only method, only conclusion for Thiru (Arjun Das) here is depicted as a weapon of "justice' is explored and keeps things somehow going. But the 2nd half was so bad with usual templates, forced characters, stupid dialogues, run-around-the-mill flashback and disappointing climax. The film starts like a flashback and it comes in full circle in the ending.

Don't fall for my previous note, it was so funny that each characters leads to a series that provides moments of buffoonery viewing pleasure. The twist of the rich lady transferring the property to the maid was so disjointed and the rich vs poor issue lacked depth and so many things felt forced in the narrative. Only the lead Arjun Das is the saving grace and he owns this broken up mess of a film in the entire runtime.

I see he movie is rated 9 star ratings currently and there is no way the ratings are genuine. Please don't fall for the fake reviews regardless of the director previous outings.

Seriously! I am still in some bewilderment after watching this film. One thought remains: what nonsense was all the amazing set pieces for?!

Well, i liked Vidiyum Munn (2013) and it is still holds up as one of the good tamil films. The buzz around the Peter director's Kolai increased as the trailers, very intriguing and it was pretty good. Then dropped the peter interview of the director in many channels, it lowered my expectation since he is accustomed to mainstream cinema jargons and timelines. I then knew the film is gonna be a bit artificial and it turned out to be so damn true. It is so awfully bland, It's an utter disaster that the very style of the film which was the driving factor was unsurprisingly an overdose.

I swear the languid expectation of the trailers was replaced by disappointment. I know the art direction, cinematography deserves a mention, there are many fascinating sets which are feast for the eyes, otherwise I would quickly forget this film.

The plot is too basic and the treatment was so bad for an whodunit. A short 30 minutes duration would have been better. Avoid this film and go see Oppenheimer or Hostel Hudugaru Bekagiddare this weekend.

Ever since the trailer was released, I have been looking forward to see how Soori would've fit in and after watching it, Vetri did deliver what it promised. Not in wildest dream that I could imagine Soori playing a lead and he has proved it. I am not an audience of Vetrimaran's template of gratuitous violence. He reeks of this kasthapadura vada Chennai folks in most of his films.

Anyway, coming this film, it was surprising to hear Soori lend his voice for the disclaimer in the beginning. You know his English pronunciation, when Soori uttered 'Alchogal' the whole theatre bursts into giggles. But the mouth shut moment follows right after the disclaimer note. I must say it was so quite when the train accident was playing, there were couple of people passing comments as it unfolded and i could sense lump in throats as they couldn't utter any word. Man, I would say this one of the best achievements by Vetri. Don't care about the Japanese blurred scenes but the Train sequence really did it for me, not exaggerating it for shock value. This tension is maintained but not throughout the runtime, I must say it felt like a different Vetri film with all his usual mantra like the police brutality, caste politics, plight of indigenous and harassment of junior police.

I must say Soori nailed the role, he was so credible as a cop, a driver and so humane. He shocked me, he looked so believable in a serious role here as it demanded much more than usual characterization in general films. He doesn't hesitate to do good to serve people. Sometimes his innocence really did help in vouching for this character. He has done some tough action scenes and his confrontation in the climax with VJS is one of the best. Soori gave everything for this film, so happy for him.

Now I know why Arunpetra Jothi song was placed in the opening, it was my first time hearing it .Staged so beautifully from up above as if there is a divine intervention followed by Kumaresan (Soori) intro. You may wonder why stage a song like this when the film showcases corpses, blurred every time. But Soori is somehow saved from death like situations in the film. His relationship with his lover and the letters for his mother were some of the best moments too. I am looking forward to see what he does in PS Vinothraj's upcoming Kottukkaali, you must see his Pebbles, do peep my review for the film

The moment we get a glimpse of The Mentor aka Vathiyar (Vijay Sethupathi) it is so chilling. How Soori was so close while he was dropping Vathiyar and his team. The final confrontation is so heavy, really felt the tension throughout. When Soori who is not in his uniform takes charge and leads the hunt, every scene is staged carefully with superb angles. The moment he picks up the gun, gosh what a brilliant scene. These days we only get actors play grey or anti-hero and it was so refreshing to see a good Samaritan kind of protagonist after some time

I know so many artists have done their part including GVM as Sunil Menon a man who dislikes perverse act as a method in the investigation. But the tables turn, and we get to see two sides of him in the runtime. We have Rajiv Menon and Sarvana Subbaiah, two directors who have done directed classics like Kandukondein Kandukondein and Ajith Kumar's Citizen by the latter. Nice to see both in the film. Even Chetan was damn good as a filthy cop who literally develops dissent on Soori for hurting his ego. It's been a while that I saw him in an intense role, I remember watching him in Vijay Jaypals Revelation (2016) long back. VJS did his part as Vathiyar, he gets a mass moment when he is full naked in the part 2 sneak peek. Post climax snippets for the sequel really did leave me wanting to see more.

Final note, This might sound very clichéd, but Vidhhuthalai is not a cinema for everyone. Be cautious as it will put you off. It is heavy film at times which is supported by an amazing score by legendary illayaraja that manages to offer palpable tension in parts. This is my favorite Vetri fillm and I'm hyped already for the sequel.

Krishand's working style is difficult to attribute to just one particular genre. I am hyped for his works and he is one of my favourite working Malayalam filmmakers alongside Prathap Joseph, Rahman Brothers, Sanju Surendran, Rohit M. G. Krishnan, Sajin Babu, Abhinav Sunder Nayak, Lijo Jose Pellissery, Rajeev Ravi, Amal Noushad, Krishnendu Kalesh and Sruthil Mathew. Maybe few early works of Don Palathara but not his banal 2021 outing Santhoshathinte Onnam Rahasyam and i still dislike Sanal's S Durga which one of the worst Malayalam films ever made with the recent addition 'No Mans Land' by Jishnu Harindra Varma.

Coming back to Krishand, i really loved his previous film "The Arbit Documentation of An Amphibian Hunt: Aavasavyuham" a mind-bending spectacle about a frogman with socio-political background. His latest 'The Male Ghost' also follows the same pattern and doesn't fit in a single genre. I suggest not be fooled by the title of this film. Because both the trailer and the name of the film itself are very deceiving. I expected to see something like a murder mystery, a bit of home invasion and psychological horror. What a stunt! It was a good tease and the film was much more than i assumed. This film is like a cocktail of genres bordering sometimes as a musical.

The movie begins with a quote "The dead teach the living," - Lars Kepler. In the local bar, it starts with a sequence leading to the intro of Super cop Sebastian (Prasanth Alexander), known for his, let's say, narcissist views, a bully to his juniors. He is also a good storyteller and as the movie unfolds, we get a glimpse of his life, a failure and that's all about him when the film highlights his relationship with his mother. A bully with behavioural issues and there is such an abyss of charm that his insecurity seems to be just an accident with some cinematic liberty and situational humours.

As we get know by his colleague that Sebastian gets only Movie-like unusual cases, enter an unidentified corpse which leads to a series of trouble in which Sebastian and other characters are tied by chance. He gets involved in all the bustle and chase with his department and the government. There is an affair angle which rings a bell in the end, literally a ring and also the racist brawl with a Tamilian bartender. As the plot progresses, the director through Sebastian reveals other characters and touches upon casteism, social commentary without going too much in details. I liked most of the characters in the film, special mention to the mother, maid, the old man who is in charge of burial, junior cop who is always bullied by Sebastian and the Senior police who also plays an actor and ends up losing his beard. The last stop for Sebastian is to investigate Susan (Darshana Rajendran) and the build up to the climax is engaging as circumstances are popping up. And all this is framed by some kickass neo-noir drenched black humour, the gags are organic in here.

Final note, the plot is engaging with a wacky style to it, which is both very unique and subtle in its texture. And also, we have a missing/washed up corpse but it plays a frankly secondary role and stands out in post-credit scene to voice out an important message.

Unlike many female filmmakers, Helma Sanders-Brahms is a name you've probably never heard of. Trust me she is truly a unique one as her nature is distinct, instinctive with a socio-biographical background. This is my favourite work from her filmography, matter of fact it is a tough gambit to source english subtitles for her films. I still have couple of films which is pending in my watchlist but "Heinrich" tops it for me. I am always was very touched by the ending monologue. I bet that the lasting bittersweet impression still remains the same like the first watch. It is a biography but the treatment by Helma is immersive and very close to the reality.

I decided to watch it today cuz Mumbai weather warranted a melancholic mood piece. I finished my Cultes Des Ghoules, Odelegger, Belenos marathon and played this film. It is weird weather coz Mumbai is't used to this at all.

Circling back to this film, This story is a biography of German author Heinrich von Kleist , a man whose life had serious ups and downs, moving only in troubled waters personally and mentally. Helma manages to document Heinrich's personal life using his letters as a medium through which the narrative of secondary character emerges. It opens with a note that the film is based on the documents, letters, writings of Heinrich von Kleist and it is accompanied by a poignant score. The film paints a portrait filled with bleak atmosphere as we follow Heinrich whose life is ambiguous and fighing with his personal demons, sexuality and longing. It is really not easy as the events unfold especially in the climax. Helma choses not to show the double suicide but opts for sound of the guns followed by Heinrich's closing notes.

Heinrich's life story is available online, there is not much of information dump here so just be prepared to immerse in anticipation of the finale. It is feel like a boring film since it doesn't follow the traditional biography approach. But i guarantee for those who wait, this boring colour-toned film suddenly become bittersweet.

This ending quote is so beautiful, I wanted to share it here.

"..and now farewell, may the heaven grant you a serene and fresh morning, a shower of rain during the heat of noon and a quiet cool star-filled evening under which one can fall asleep softly and easily." - Heinrich von Kleist.

Hilal Baydarov works have been exalted by film festivals, slow cinema cinephiles and fans of Azeri cinema. It was quite surprising to see Locarno repudiated his latest submission this year with zero awards. I like his style but don't go out and recommend it out of experience cuz it many times labelled as a load of Arthouse turd. This film is to be enjoyed (no pun intented) as a whiskey on a cold weather night. I have been on a marathon of movies with downpour, cold or bleak. This documentary warranted another watch, there are so many shots, lines that accompanied me so often. I love his fiction but his documentaries make up most of him, his psyche, this can be the best example as it is very complicated even more difficult to describe. I have seen comments that his fictional films are better but sometimes the drastic self indulgence are usually unwelcomed by the majority.

Right from the opening shot of a gloomy landscape followed by shot of Baydarov in a hoodie is about the most Depressive Suicidal Black Metal he can get in the cultural background of his birthplace. Then begins his lamentations, a retrospection of past, philosophy, ideology about religion, life, cinema, love as Hilal takes you on a journey and once you join in, if you manage so, an outburst in guaranteed as the chapters unfold, tightly into this philosophy, even encompassing the mundanity and more depressive atmospheres. The cinematography contrasts of calm and atmospheric fragments in which bleak motifs of the vicinity resound throughout the runtime till the final nail in the coffin with the pages from the book (brain). Definitely his personal work till date as it strikes a certain emotion and builds upon the longing and sadness.

On the occasion of Yvonne Rainer's birthday i had revisited some her works. As i do for other filmmakers, i just wanted to share my thoughts on this film which is one of her best. In the film there is everything that one can expect from atypical Rainer. The bleak, interesting and personal picture of middle-aged lesbian couple, the concept of love, breast cancer. Rainer paints an absurd portrait in her style about the acceptance, the inner conflicts and shows moments that are likely to be distasteful to many but it is a familiar troupe in most of her works. It can be light-hearted but there is a melancholic feel with the deeper themes that Rainer manages to get across the viewer.

This is the kind of film which makes when you think that the director just wants to overkill and make a film for the sake of aesthetic buffoonery and pop culture references. It is funny to see the 9 plus star ratings and there is no way these scores are genuine. Dam sure, this title really shows how the ratings game is played by the PR teams and studio. Please don't fall for the high rating regardless of the director previous outings. Unfortunately, this is so bad than Thinkalazcha Nishchayam and remains a decent attempt, a little messy and dotted with acting. Another film that was average is Nivin Pauly's "Kanakam Kaamini Kalaham"and "1744 White Alto" is even worse in terms of comedy, the gags are not organic and it frequently adds to the film's feel of being forced.

It would be better if the director paid more attention to the characters, acting, pacing, mainly the dialogues and not to the amount of being a Dan Kwan, Gen Sekiguchi, Jeremy Saulnier, Guy Ritchie, Xavier Dolan, Quentin Dupieux, Martin McDonagh, Zach Braff, Sam Raimi, Wes Anderson, Jim Jarmusch, Coenessque Wannabe. Even the mediocre cast isn't enough to rescue the floundering except the lead. The film is meticulosky crafted staging-wise but it's nearly as pretentious and an overkill as the palattes looks like it done just to be a ripoff like a trash on treadmills.

To summarize, the film manages to subvert the malayalam cinema conventions with more flaws of its own. Its attempts to position the absurdity, social commentary as a kind of existential feels like a misfire. The tone of the film oscillates too indecisively between black comedy and drama, unfortunately it does go beyond buffoonery, despite a very few scenes.

"I am convinced we are all voyeurs. It's part of the detective thing. We want to know secrets and we want to know what goes on behind those windows." -David Lynch, interviewed by Newsday, 1997. I wanted to begin with this quote as the line basically sums up my entire experience and evokes both awe and a grim feeling.

Before the film "De humani corporis fabrica" I was familiar with the filmography and worldview of director duo Véréna Paravel and Lucien Castaing-Taylor, I saw only two of their films "Leviathan" and "Caniba", and I confess, based on the assessment of only these films, I had very contradictory feeling about the style. After the first viewing of Caniba, I did not like it much and since the weird, uncanny, experimental cinema is my realm i mostly swim in. I felt the cinephiles hype didn't seem justified for "Caniba" but with their latest i must say the duo testing unorthodox methods of shooting and pushing the boundaries of what Cinema can and should be is commendable to create their own space.

A documentary on health system, a shockumentary, body horror, slapstick comedy and a few other tags that "De humani corporis fabrica" falls under, still cannot summarize all of its significance and genre nature for example the last sequence of doctors in the bar and the mutiple motifs in the scene. Taking inspiration from Andreas Vesalius (1514-1564) 16th-century anatomist, physician, and author of one of the famous book De Humani Corporis Fabrica (1543), the director duo have created a canvas that causes shock and awe. The surgery footages is presented so real with Cronenberg symbolism which literally permeates every frame.

Like i said the multi-genre feel instantly knocks the mind out of a comfortable slumber. It will be contrasting when surgeons perform operations when human body is reduced to scalpel blade, man playing god, ranting, discussing about the probability and possibility of the surgery. A Kaleidoscopic look at how human beings reborn after the anatomized, excoriated surgery of disfigurement combined with 21st century medical technology. The camera work is brilliant, it is visceral to witness all the colors they make when it turns macabre with every detail shown on the screen. Shocking to see behind the scenes of the health system, the crisis and many more commentary. The avant-garde shift in the Bar sequence reminded me of The Mad Songs of Fernanda Hussein (2001) which i want to highlight. Do check out my review for the later, i consider it to be one of the greatest films ever made. Finally, i am not ready to revisit it for second viewing at the moment but will check it out sometime later and it might not have the same impact on me, maybe even stronger.

To summarize, those who accustomed to seeing Mondo films, Aroma Planning/ Baroque Studio and Shockumentaries, also those who watched Kiyotaka Tsurisaki's works, Susumu Saegusa films, Der Weg nach Eden (1995) by Robert-Adrian Pejo, John Alan Schwartz's Faces of Death (1978), A Certain Kind of Death (2003), Damon Fox's Faces of Death, Stan Brakhage's The Act of Seeing with One's Own Eyes (1971) will appreciate this unsettling piece of work.

Been watching Yoichi Higaschi films on the occasion of his birthday. I have seen his films from the 90s phase but haven't explored his older catalogue. I have read that Jun Ichikawa was a fan of this film. A slice of real life in '70s Japan. A story of a woman's emancipation. A young female student and her troubled relationships with two boyfriends. All the actors are really good at this, but the leading actress is giving a truly superb performance. A touching and sincere film, with a but great direction,that doesn't try to show off.

Kaori Momoi is mesmerising as Mariko, as her "just their" performance really emphases her "sleepwalking" thru her life, as you become so invested in her. The scene just of her eating celery on the verge of tears is heartbreaking and really, really, really well done.

Greek legend Nikos Panayotopoulos has made some really interesting films, i love his Edge of Night (2000), The Idlers of the Fertile Valley (1978) but Melodrama was my least favorite. Today, the outrageously good weather warranted a marathon of movies with downpour. I had watched Vesper (2022), Nails in My Brain (2020), Ode to nothing (2018) and Saloum (2021) and this gem was next on my list as the image of both Yannis and music teacher Anna standing by the window watching the rain drop down the pane. This scene has been in my memory ever since i watched it long back, it is so vivid and even Anna's monologue about her inner struggle, the calendar flipping scenes, especially the opening and the closing with Cinema reference, the tonal shift of the pastoral setting from Black and white to color. Truly a melancholic piece of work, soothing and peaceful at the same time. This is now my favorite Panayotopoulos, the opinion might change but really loved the experience of revisiting it as the weather accentuated the mood of the film. Loved the way he staged the existential crisis of both the leads with the environment composed of a nothingness, including the dry sex scenes. As the minutes go by and there is a pessimistic character development, even the tape recorder, calendar arrives as an unexpected guest in the narrative. Even the last act, a sort of closure representing the fall of the condemned Yannis to an existence for the cruel gesture is atmospherically shot The burial of his sick mother and the scenes that follow will leave an apocalyptic mood and feels meta as it ends. I would say Cinematically, on the level of sound and image directly, it is one of the best Greek films and will be a captivating watch for those who love slow Arthouse cinema.

While revisiting Akame 48 Waterfalls (2003), the opening scene of this film kept appearing subconsciously as it is etched literally on my mind forever. Whenever i revisit Shinji Somai's Moving (1993) i always draw parallels with the climax of this film definitely been a favourite of mine.

I was clearing out my IMDb lists and bumped into to this title i scrolled down and was so glad to see two reviews. But i was baffled to see Zero reviews plugged in after 2003. About decades later we just got 2 entries which was posted many moons ago, i wonder why no one else has posted anything. Anyways, i have decided to share a brief note on this film which truly holds the definition of criminally overlooked or unsung gems.

The cinema of John Gianvito showed us the horrors of war, the mental drain, economic impact and dominance of USA over Latin America and the Middle East. His documentaries are compelling without going overboard or melodramatic in the traditional genre approach with room for solidarity. My favourite in his filmography is Profit Motive and the Whispering Wind (2007), a brilliant documentary much more than history lecture.

Coming to this film it stands out in Gianvito's catalgue and the presentation here is minimalistic and strikingly different than his other works. Set up in the times of the Persian Gulf war "The Mad Songs of Fernanda Hussein" brings sensitive issues as Gianvito brings three stories that are impacted by the War.

The first story begins with one of my all time favourite opening ever, a guy in bandanna drops a young boy in the Rio Grande river and we see another dead body of a teenage girl floating as there is a close up as the blood dripped down onto the leaves. Then we see the magnificient painting of Paul Delaroche's Young Martyr as the text pops up on the screen that reads the title of the movie.

At the center of the plot is Fernanda Hussein who is the main character and she embarks on the search of her missing kids. Facing the heat of being an outsider she gets targetted by the system and is falsely accused for Pro-Iraqi sentiments. Now we see what the last name "Hussein" has got to do with this bullying as she loses her children a 14-year-old daughter and a nine-year-old son who are thrown in the in the river.

Then we have part ii "Orphans of the storms" it follows the part i template and begins with a quote from John Trudell "Dont trust anyone who is'nt angry" aimed at the character a teenager opposed by his conservative pro-war Father for his antiwar principles influenced by his radical teacher in school. He is seen as a weakling and incapable of anything even the acamdemics. Without having a second thought he flees from his home to contribute to the cause and the movement.

Part iii we are dealing with a war veteran who plunges headlong into the aftermath of Operation desert storm and is forced to stray along with guilt. The feeling he shows sucks him into a real hell as he alienates himself from the rest of the world. In a threesome sex which starts with the girls teasing the marine running hands all over his body and nipples and suddenly intercutting between the flashbacks of the killing fields news clips as he confronts the personal scars with the intercourse.

On the music side John Gianvito uses the perfect talent, Iraqi oud player Nasser Shamma managed to compile powerful musical selection as we can see himself perfectly adjusted to the depressive background of the film.

I have to mention about my favorite scenes as it is seared into my memory and tough to just single out one moment or sequence. The most important of all the xenophobic graffiti on Fernandas wall which says 'Arab pigs go home'. Gianvito doesn't opt for a fullblown acting here he uses a realistic approach without giving an burdensome acting or narration. I loved the scene in which Assad and Amir looking out into the sky and discussing about the clouds taking shapes changing patterns a really beautiful moments between the siblings. The shot when the lucky wish bracelet slips off Assads hand in the river was done brilliantly. I was invested in the police station sequence it gives a clue that they are definitely accomplices and have been hand in gloves with the the hate. The cop goes on to suggest Fernanda to change her last name to Sanchez or Lopez. The sungazing shot of the marine presents a tonal shift as the atmosphere is supernatural and masterfully created. Another favorite is the short glimpse of a note "My loves the door is open I've gone to look for you," it evokes a melancholic feeling.

There are many more i can go on and on but ultimate favorite is the climax which is surreal avant-garde madness and otherworldly sight. The closure takes place in a local gathering event known as Zozobra giant burning effigy consumed into the bonfire to get rid of bad vibes and negativity. Fernanda witnesses the entire event as people showcase their carnal impulse that is innate to humanity amidst cheering and "Burn him, Burn him" screams. The primitive mindset psychological heaviness as what drives people to indulge in this trance inducing violence is captured. Fernanda's morality quest is in question mark as the narrative is presented in near abstraction it is superimposed with flickers hyperactive zooms as the giant effigy represents chaos of human nature. It reminded me of the experimental films of Takashi Ito, Dore O, Ishu Patel l, Phil Solomon, Teo Hernndez, Klaus Wyborny, Peggy Ahwesh and Moving (1993) being the most obvious all wrapped up in that edge that Gianvito sinks into the depths of his subconscious.

What a cool debut, probably the coolest badass debut ever by Christoph Schlingensief, can't beleive he was just 7 year old when he made this. I had never watched his shorts, but today managed to check out his filmography on the occasion his his birth anniversary. I know many will be aware of his later films but this short debut is crazy, setting the bar for his wicked filmography. A must for his fans, o can't describe how cool this short is. It's not "bonkers", like his later films but has fun absurd moments, three acts and mostly about Cinema. RIP Christoph Schlingensief, one of the best German filmmakers of all time.