Observations and Reflections
Park Chan Wook’s Decision to Leave is a study in restraint. At a first glance, it is unlike most of the directors’ body of work, dwelling more on the peaceful ordinary than the violence and gore many have come to associate with Park’s cinema. But Decision to Leave emerges as his best directorial endeavour to date – flourishing because of the very thing that sets it apart – the mundane.
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At this year’s MET Gala, most celebrities found it relatively easy to stick to the theme, owing to its simplicity and directness, Karl Lagerfeld: A Line of Beauty. But the result was extremely boring, drawing a response of apathy from its audience.
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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 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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Wheat fields were a common subject of Vincent Van Gogh’s art, and it was in one of those fields that the iconic painter took his own life. At the Van Gogh 360 show, these paintings are nothing more than a background for couples to take cute #OOTD pictures for their Instagrams.
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