Diary Of A Country Priest

How to or maybe why to suffer for a good cause, in Diary Of A Country Priest. Before I start, let me confess that this is not a film that I can fully comprehend. There are notions, statements and scenes where the makers are saying something out loud, but I am too dumb or deaf... Continue Reading →

Stranger Than Fiction

How to improve your script by convincing the audience that there is no other way this could’ve spiraled out, in Stranger Than Fiction. I wonder if non-writers find this film equally intriguing as we do. I wonder if they understand “writer’s block” something that Emma Thompson’s character suffers from, for the most part of the... Continue Reading →

Black Narcissus

How to be sporty with a non-friendly attitude in a serious environment, sensitive platform and a vital topic, in Black Narcissus. What's the obsession over the faces? That’s the only question I have from the director Michael Powell and Emeric Pressburger’s Black Narcissus. Yes, it is commendable considering it has brilliant performance at the center... Continue Reading →

Groundhog Day

How to squeeze everything you can from a character, every last bit of drop that could be integrated showcasing the phase, the side of that very character resulting into, obviously the only way out, the film advances forward through those very earned spectrum of emotion. What I love about the film is that unlike the... Continue Reading →

Babe

How to surprise and delight and inspire everyone by going back to the basics, in Babe. The writer George Miller and not the director Chris Noonan’s Babe, an adaptation of the book “The Sheep Pig” by Dick King-Smith, is simply a good film. Proper understanding of characters and the world they are wrapped around. Just... Continue Reading →

We Own The Night

How to execute a not-so-steady material with firm belief in yourself that balances the state, in We Own The Night. The writer and director James Gray's We Own The Night, owns the essence of everything it focuses on. From the crime world, to the dirty off-stage police work, to the lonely dark nights simmering outside... Continue Reading →

Atlantics

How to stand up in important issues, subject that you care about, in Atlantics What an incredible list of supporting characters they have. They come in and shift the film a whole new side. From positive to negative. It switches on and off within a blink. Personal favourite scene is when the commissioner comes in... Continue Reading →

Una

How to play a film and film a play, in Una The director Benedict Andrews's Una speaks through not just action but objects. And of course not even using words. Though I must admit the times the film uses words, it is to solely express the intentions and being on the nose. How, on the... Continue Reading →

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