Thanks A Movie

MONSTER, dir: Hirokazu Kore-eda! I'm kinda spoiling the film for you, or maybe not, if you’re opinionated and look at things on a black and white scale, this film tells you, you're colorblind, and sometimes things are grey, you know! So, the film gives us easy answers to it and holds up a lens to the world we’ve built, where misunderstanding grows faster than the compassion, and where the line between victim and villain is never as clear as we want it to be. Details on the film 'Monster', and what it’s really trying to say.. 🧵

SALAAM BOMBAY, dir: Mira Nair! In the wider socio-economic context, this film mirrors the contradictions of India’s urban transformation. The 1980s marked a period of industrial expansion and visible consumerism culture, but for millions of migrants and the poor, it also meant displacement, overcrowding, and invisibility. While the middle class embraced new ideals of modern India, street children like Krishna, (shown in the film) became symbols of those excluded from the nation’s progress. Nair uses their stories to challenge the illusion of development showing how prosperity for some coexisted with deepening poverty for others. Krishna’s journey mirrors the trauma of an entire generation of forgotten children. Each child in the film carries a wound of abandonment, exploitation, or addiction that shapes their behaviour. They are tough, cynical, and prematurely wise, yet beneath that hardness lies the yearning for belonging and love. Through Salaam Bombay!, Mira Nair crafts more than a film she builds a mirror that refuses to look away. It reflects the fragile humanity that persists amid despair, the small acts of love and courage that give meaning to survival. 🧵:

2 MOVIES FROM THE ACADEMY AWARD WINNER DIRECTOR PAOLO SORRENTINO. One explores the twists of destiny and the other quietly captures how time drifts. But again, his two of the movies THE HAND OF GOD (2021) AND PARTHENOPE (2024). One of these gained more audience and people kept talking way more than the other. Same director. Same city. But only one film made people laugh, cry, and people saying, “This one hits different.” Let’s dig in to the Director’s perspective, the similarities and differences in the themes of these two films and why one got praised and while the other doesn’t.

ABSENCE OF DRAMA MAKES SUZAKU (1997) BY NAOMI KAWASE MORE REAL!! Watching Suzaku felt less like “watching a film” and more like quietly sitting inside someone else’s life. It follows a simple family, living in a village, going through both small happy moments & quiet struggles. What I really love about this film and It doesn’t give you a dramatic “BOMB BLAST” moment. It’s more like… a balloon. We keep inflating it slowly, little by little, moment by moment, and only at one point, it bursts. That’s exactly how Suzaku felt, everything unfolded within a kind of emotional suffocation, a slow accumulation of unspoken pressures, quiet failures, and everyday helplessness. I think that’s why it connects so easily to real life. Because most of the time, even in our lives, nothing happens suddenly. It’s always a build-up of small things we don’t even notice. See replies for more detailed readings:

THE SWAN, dir: Wes Anderson! Watched, ‘The Swan’ and it felt like a group project where childhood, cruelty, and Anderson all said “let’s mess him up” and… next thing i know, Roald Dahl dropped me into childhood trauma and straight up matter of fact brutality. Brutal. but the wild part? Anderson keeps it so deadpan, so calm, that the cruelty almost feels casual. Like forcing you to “see their world”? who writes this stuff? What I got felt like Roald Dahl inviting me to recess and then shoving me straight into childhood trauma. Like when you recall school days, you don’t remember full stories, just flashes: the laughter, the bullying, the moment you felt small. The film showed grief + freedom + escape all packed into one weird image….dark af but also kinda poetic except not “poetic poetic”, more like “yo, not gonna lie that went straight to the gut.”