Observations and Reflections
Lydia Tar is a narcissist. This is evident right from the first scene of the film – where Tar discusses her views of music and herself with a journalist. She is a terrible person, but still a complex one. This is where the greatness of Tar lies.
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The words that first come to mind when thinking about Park Chan-Wook’s 2016 erotic-thriller, The Handmaiden, are sumptuously delectable. Hidden among the layers of beautifully meticulous costuming matched by equally detailed set design, is a sharply-crafted tale of finding freedom and love in an oppressive and patriarchal environment.
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The Triangle of Sadness’s opening credits show male models wearing speedos covered in the star-spangled banner as they get doused in paint in a way that is reminiscent of Jackson Pollock’s art. For a while after the credits ended and the movie trudged along, I wondered what it meant. Was it a metaphor for something I missed? No. It’s Ruben Östlund’s way of introducing you to a film that is entirely void of nuance, elevating satire on class and power structures to a whole new level of ridiculousness. There is no metaphor; this is all rich people nonsense.
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This article comprises my views on the video titled “Opulence” by Contrapoints. These are my reflections on the ideas put forward by her, and an attempt to provide an Indian context for the same.
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