I like the devouring darkness and the disowned shadows in people. The rawness is violently beautiful. It is often the unacknowledged truth - their undiluted life force, holding its breath in longing.
“People who are direct are generally in touch with themselves and their desires. People who are habitually indirect usually aren’t.
This is because people who are indirect don’t have much experience with their inner world making contact with the outer world. They sit and theorize instead of saying it out loud and seeing what happens.”
Easy.
This scene from the '80s Malayalam movie 'Namukku Parkkan Munthiri Thoppukal' where Mohan Lal quotes from the Bible and asks Shari if she knows how the verse ends.
And ofc the verse ends with a bang.
@buridansridge What's the solution for this? Do we look for someone rare with that high emotional intelligence who doesn't need that rollercoaster of emotions or just accept the fact that we need to create that stimulus to keep a woman?
Your twenties are only as good as your family is rich. If they have money, it's a decade of frivolous travel, partying, and entertainment. If they don't have money, it's a miserable low experience point grind until you eventually have the means of standing on your own.
I have been thoroughly analysing all the romance genre movies in Tamil cinema so far - nothing even comes to Rythm in terms of realistic portrayal. For a movie that came out in the early 2000s, it is so much ahead of its time - a widower and a single mother finding solace
One of the funniest things in #LuckyBaskhar is during the climax when the bank higher ups deduce DQ's giving up as something to do with "family and love". They use that delusion to justify their win exactly like a narcissistic person weaves their own narrative.
In the wonderfully sensitive #Meiyazhagan, director Prem Kumar sees life and beauty in everything—even and especially in the non-living. A home is said to have a face, a bicycle feels like a character. The filmmaker shares great feeling—bordering on wonder almost—for events that most might be guilty of dismissing as mundane. Pedalling a bicycle, standing by a train door, smelling a new shirt. Naturally, the depth with which he captures human emotions is quite moving. It’s a film where men cry freely—and it’s wonderful and liberating to watch them be as vulnerable and openly expressive.
Meiyazhagan is a story about stories: tales of the past, on occasion even stretching back hundreds of years; of family; of childhood. Stories that stir awake forgotten memories, stories that rekindle lost beauty and warmth. I found great pleasure in experiencing Meiyazhagan… in its unhurried pace, in its plotless grace, in its reverence and wonder for the everyday, and above all, in all the love and emotion it swells with.