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Gegen die Wand (translates as ‘Against the Wall’) by  Fatih Akin, a winner of the Golden Bear at the 2004 Berlin International Film Festival – critically acclaimed worldwide for its gritty portrayal of the relationship between two Turkish immigrants in Germany. Fatih Akin, a German born Turkish originated film director, has established himself as a promising young director whose films concentrate on the relationships among people of different national and cultural backgrounds in ethnically diverse environments.

This brilliantly edgy film, pulsates with ‘raw energy’, sex, drugs and frighteningly intense chemistry between its protagonists, and is set in an exasperatingly hectic world of raw emotions and extreme self-destructiveness, which portrays generational, cultural/ideological and religious conflicts faced by rebellious Turkish Youth who grew up in a far more liberal educational environment and who are restless to fashion their own identity (wholly a different world from their parents’ Islamic Turkish identity) through assimilating lifestyle of German urban culture – beer drinking, drugs, club-crawling, rock music, reckless sexual escapades.

The film is about a cringingly intense and tempestuous romantic adventure between two desperate Turkish immigrants in Germany : Cahit (a 40-something, intentionally self-destructing, impulsive, and reckless man who snorts coke, thrives on alcohol and drugs, who has no ostensible ties to his Turkish past…the film opens loud and ugly with inebriated Cahit trying to kill himself by crashing his beaten vehicle straight at full speed into a wall – Depeche Mode’s “I Feel You’ as the backdrop score) and Sibel (unbelievably cute, erratic, extreme, sexy young woman with  suicidal instincts) who trapped between her individual longings and the restrictions placed upon her by her close-knit traditional family.  

Cahit – ravishingly energetic a blend of Kurt Cobain-Jim Morrison archetypes, raw, bitter and sour, drunk most of the time, makes his living at a club by collecting empty glasses and bottles that litter the floor after concerts, and is a reckless spirit who, at a mere provocation, could plunge into a frenzy of brutal self-destruction. Sibel – An endearingly innocent looking young woman with a huge appetite for sexual adventures, who always tries to escape her orthodox family’s oppressing / restricting Islamic value system.

Cahit’s reckless crash into the wall lands him in a suicide rehab clinic, where he is chased by Sibel, who also survives a botched suicide attempt. Cahit barely acknowledges her in their first ever collision, when Sibel almost provokes him to marry her, as she needs a legitimate escape from her overbearingly restrictive family. When she asks him again to marry her, he claims he is a gay. But, he, reluctantly yields to Sibel, who is exhaustingly persistent, and her rather appealing a proposition of a loveless and sexless marriage of convenience – as a roommate she would pay half the rent, do the dishes, cook, clean & scrub his filthy flat, and would explore all the pleasures of sexual adventure freely, without bothering him much. Her sexual escapades begin on their wedding night itself, when Cahit throws her out during an argument. The next morning, Sibel, still in her wedding gown, walking across the street, beaming with a sense of abandonment, over a successful escapade strikes an image of youthful profligacy – and so commences an endless orgy of hedonism. Sibel drunk on freedom, enjoys Hamburg’s nightlife/endless sexual opportunities, acquires taste for drugs, sleeps with a different guy every night, and gets more comfortable with Cahit, almost like a close friend. Yet, it does not take them long to realize the growing fondness and love/affection for each other.

Tragedy strikes  their relationship, which is transforming from something sprung out of convenience to a good old love story, when Cahit attacks and unintentionally kills one of Sibel’s one-night-stands who made sexually demeaning comments about Sibel. Cahit goes to jail, Sibel promises to wait for him, flees to Istanbul to escape the wrath of her family, who want her dead for her immoral behaviour. She goes to Istanbul, efforts to reconstruct her life – which means, to forget every sense of belonging, to her family, to her ‘new family’ with Cahit, and even to the fashionable & desire-evoking exhibitionism of femininity. She tries to re-create her life of abandonment in Hamburg with drugs and sex, when she realises she is dedicating her life to work. But the drug reawakens all her unmitigated grief, and brings her almost to physical and psychological destruction…she nearly gets  stabbed to death in the street. Soon after, she gives up her erratic & wayward lifestyle and settles for an ordinary life. Sibel and Cahit eventually consummate their marriage, when Cahit comes looking for her in Istanbul, but the sobered Cahit does not indulge in any self-destructive act even when the dutiful Sibel does not leave with him and her daughter…but we are not sure she stays back with her familial obligations, with her new partner – in the film, we do not see her partner, though we listen to his playing with the baby.

‘If you cant change the world, then change your world’ – Sibel and Cahit eventually change, not their world, but their surroundings/milieu by returning to their home culture, which is not a conscious decision, but a forced choice. Cahit leaves Istanbul to go to Mersin, his home town, his place of origin, as the place where he possibly hopes to find his roots and thus putting an end to his rootless existence. Cahit and Sibel were desperate to break free of their repressive culture, they assimilated into the dominant German culture, but they failed to create happiness for selves in that world. Both Ünel and Kekilli inhabit their characters with frightening intensity and delivered remarkable performances.

Says Fatih Akin, “we look at Germany through our family’s perspective as a Turk and we look at Turkey as a German,….Therefore, we do contain both identities; as a film maker, it is a rare chance for me to be able to grasp both cultures from inside; but at the same time, it also brings a sense of not belonging to anywhere. . . .”

Head On is a film with a Multiple identity…The orchestra with Istanbul’s skyline as the backdrop runs like a Punctuation – a contradictory element in the film, thus dividing it into different chapters of a story whose destiny is already written…what one could observe the contrast between Turkey and Germany – Turkey reflecting the softer side : feminine, sentiment, relationships, a state of immobility, Tradition, and in harmony with the nature, while Germany presenting the opposite : masculine, ruggedness, violence, darkness, modernism, reality, streets, contemporary music (post-punk culture)  

Head On is tragic, exhilarating and elusive…there are a few key sequences that mark the characters’ emotional progression : when Cahit’s psychiatrist quotes a song’s verse ‘If you can’t change the world, change your world’, when Cahit and Sibel cry out the slogan ‘Punk is not dead’ showing the uncontainable joy for the chaotic freedom of their marriage, and when Cahit in Istanbul shares his feelings for Sibel  with her cousin.

NYTIMES Movie review….Cahit is as haunted by the past as Sibel is plagued by the present. Both are slaves to loves: he of heartbreak, she of her father and his God. For his troubles, Cahit wears the mantle of tragic hero, a role the charismatic Mr. Unel embraces with exuberant, tangible heat. Sibel, meanwhile, embodies the film’s divided conscience. Split between two cultures, yearning for life and for death, the character is struggling to declare not just her independence, but her very being.



Robert Pattinson and Kristen Stewart’s kiss

Robert Pattinson and Kristen Stewart’s kiss

….a sense of anticipation, a sense of longing, a sense of hesitation, a sense of urgency driven by till-now suppressed passion…this kiss, forbidden one yet subtly intense, between Vampire and human, makes a kiss desirous…

I was told, repeatedly, by Shweta at work that the book is an indulgence for one’s imagination. I usually do not believe in Vampire-n-human’s magical journey into elevations of heart, but post watching the film, I find self now relentlessly hungry for ‘adult* romantic fantasy’ …* read woman! It may be termed as ‘meaningless’ by most, a grown up entertaining ‘fantasy based expeditions’, after having tasted life’s harsh realities. Well, I would beam, let’s not under-estimate the universe, the mother nature and all those secret dynamics of life that stay alive around us, which cant be gauged by ordinary & mundane eyes. There’s always a stream of hope, there’s always a desire to ‘lift feet up, stretch on the couch, disconnect from the world and reach some other universe where earth’s rules no longer are valid’  

Twilight is a 2008 American romantic fantasy film directed by Catherine Hardwicke and based on the novel of the same name by Stephenie Meyer. The premise focuses on a teenage girl and a vampire who fall in love.

I see my future like a waiting room in a big train station with benches and drafts. Outside, hordes of people run by without seeing me. They’re all in a rush…taking trains and cabs…they have somewhere to go…someone to meet..and I sit there, waiting. For something to happen to me!



Nadine Labaki’s debut venture Caramel is an enchanting film about women in Lebanon.  Set in a beauty salon in Beirut, which becomes a space for love, to regain strength from loss, and sharing laughter for a group of women, the film explores the lives of these women trapped between tradition and modernity, the past and the present, and between doing what they want to do and what is expected from them, while also highlighting the sisterly friendship and warmth these women share and their joys & dilemmas, which are universal in their tendency and come across to us as familiar conflicts that most of us live with, every moment.

Protected from the scrutiny of the outside world, Layale, Nisrine, Rima, Jamale and Rose deal with questions related to extra marital affairs, lost loves and secret longings. They share their troubles, dilemmas and all those unspoken fears – Layale, 2008_caramel_an unmarried woman having an affair with a married man, feels a conflict between her obsession like tendency towards her lover and a strain of resistance that reminds her continually that she is going against the traditional values she was raised with {Self-deception}. While Nisrine, Nisrine_caramelrelatively a younger woman, fears her fiancé will find out that she is no longer a virgin and tries to work out a solution that does not destroy her chances for marriage {Being Non Virgin}. Rima Rimacan not communicate her attraction towards women, and is afraid of it {fear of being considered as an Unconventional young woman with abnormal tendencies}. Jamale, a divorced actress who is insecure about her age, struggles through her need to keep up with the younger women around her, because in a society where women’s appearances determine their fortune, she knows that she will soon have no worth {Haunted by the fear of redundancy}.caramelpic

Their problems are personal and political, as Nadine, the film maker says  – in a society tightly bound by rules and taboos.

There is also the touching story of two sisters, Lily and Rose {Irrepressible Hope}. Rose has always kept her older sister as the top most priority, and now at 65 has to let love pass her by again. Her older sister Lily picks up pieces of paper from the streets hoping they are letters from a soldier she was in love with as a young woman. Caramel explores their love stories with utmost  sensitivity, and gently suggests it’s never too late to fall in love, and never too long to wait.

The film’s title refers to the paste for removing unwanted hair in the Middle East, a blend of sugar, lemon juice and water that is boiled until it turns into caramel. But it is also, according to Nadine Labaki, an idea of sweet and salt, sugary and sour, of the delicious sugar that can burn and hurt you. Bittersweet and affectionate, Caramel is an exceptional version of a woman’s world

Labaki who plays Layale, the protagonist in the film, describes the filmmaking process:

“The film came from personal questioning I have about Lebanese women [who] are an example of emancipation, of liberty, of independence for other regions in the Middle East. Lebanese women are really doing what they want in their lives. But at the same time, there is this struggle with their traditions, their religion, and their education. It is still a little bit rigid. So it is a struggle between these two worlds.

“When you think about Beirut, normally you see a grey picture, you see smoke, you see buildings that are destroyed, you see women crying in the street. This is what comes to your mind when you see the word Beirut. And I wanted to change that. I wanted to make a film that was colorful and about warm people, because this is also our reality. I think I come from a generation that doesn’t want to look back, that doesn’t want to talk about war anymore. It wasn’t easy in my case, because I finished the shoot and a week later the war broke out again. So I had a huge feeling of guilt. Why was I making a film about life when my country was at war? But then I thought maybe this was my way of struggling, of resisting: making films about life [in a time of war].

manwithoutdvdThe Man without a Past (2002), a masterpiece from Finnish director, Aki Kaurismaki, is an endearing tale of humanity, minimalist in style & dialogue, but with a compelling view on life through its frozen yet subversive tone of humor. The film begins on a tragic note, and soon turns into a longing, beautiful study of love and loneliness, of pain and poverty, of faith and fragility.  It is about a provincial welder, the unnamed protagonist {played with soulful deadpan by Markku Peltola} who arrives in Helsinki by train, in search of work, gets brutally mugged & assaulted by a group of thugs and left for dead. Pronounced dead in the hospital, he miraculously returns to life, stumbles out of the hospital, with his face fully swathed in bandages, and somehow is found collapsed on a riverbank that’s adjacent to an urban Finnish landscape shadowed by poverty and bureaucratic negligence. Subsequently, he is taken care of by a security guard who happens to be a landlord of the shipping container shantytown and as an unskilled individual, amusingly fancies himself a ruthless enforcer of law and order.  Poverty and existence of the downtrodden working class, I felt while watching this film, never has been captured in such an inviting manner. Not so eventful yet simple everyday-ness, resilience and nobility of poor families in hard times takes the audience far away from the universal definer of poverty, i.e. the struggle/labor and the sweat : simple family meals, the woman at the helm of family affairs striking conversations with the stranger who is recuperating from his head injuries to figure out his real identity, family sitting outside enjoying the music floating out of a radio,  dad after a hard day taking a hot shower bath in an open bathroom with his kids perched on the tin roof pouring hot steaming water through a bent pipe, dad requesting M to share his crop of Potatoes – a handful of Potatoes grown out of a tiny patch of ground  ….. manwithoutpast-1

despite repeated efforts by everyone, the protagonist fails to recall anything about his previous life, including his name {the final credits identify him simply as M}. Everyone, however, realizes that he could be from a working class because of his hands that look hardened from work, and his face clearly bearing signs of weathered hardship and disappointment. He, eventually, settles down in the community of homeless and destitute, & with a home in a converted storage shed with a mattress, a portable stove and a refurbished jukebox {M manages to salvage this jukebox, which  interestingly reflects his music preferences, i.e. ‘rhythm music’ {rockabilly, blues and vintage R&B}}. He also finds love in a melancholic Salvation Army worker, Irma {Kati Outinen}, who ladles out free soup by day, & lies awake in her dormitory at night, listening to Rock n Roll with almost a religious devotion… the film is littered with such quietly affecting sequences like that brief montage of homeless people sleeping on beaches and railroad tracks….Unexpected terrible blow of luck turns to good as M’s loss of his former life {a lot better and comfortable than his present status} symbolizes the emergence of a greater self / human in him, through his love for Irma and influence of his musical preferences that transforms the Salvation Army band into a swinging combo {with the thrift shop manager joining the band as a lead singer}. This juxtaposition of abject poverty, upbeat & lilting music filled evenings in a community setup  and everyone’s affection for M for enabling them to take pride in themselves and discover something fresh and new about selves regardless of being surrounded by hardship, poverty and unfortunate conditions, makes this film a contemporary resplendent fairy tale with an optimistic point of view on life.

Aki Kaurismaki’s films, largely, are woven around the aspirations and experiences of working class protagonists. One can see and feel a genuine investment of human norms and morals, positive attitudes {that are strongly associated with the upper class in the society} on simple-minded, regular factory workers, municipal employees, which, effortlessly enable them to rise above their status in the society, their occupations, and their mere existence as insignificant cogs in giant wheels of production. Aki Kaurismaki, with characteristically impish forthrightness, writes that ‘my social, economical and political views of the state of society, morals and love can hopefully be found from the film itself.’ The talk between the protagonist M and the electrician from the municipal utility company who runs a cable from a nearby power line to M’s home (who later repairs the jukebox for M) captures Kaurismaki’s ethical ideals…the electrician refuses payment from M and asks something else in exchange for his favour – ‘If you see lying face down in the gutter, turn me on my back’.  The film, on the whole, is beautiful and sad, witty and indifferent, promises a great beginning even being surrounded by the deepest misfortune. 

And I love reading this review! Kenneth Turan’s film review starts with the much-lauded ‘The Man without a past’ is a FROZEN FINNISH TREAT….:)


This is a very engaging and thought provoking film about simple people leading richer {not in terms of materialistic factors} and meaningful lives, about a desolate looking boy with large brown eyes, should I say, almost tearful eyes children-of-heaven_2and his younger sister Zahra children-of-heaven_1

{from a poor family that copes with many kinds of financial difficulties everyday, every moment} trying to hide loss of shoes fr0m their parents.  The film starts with Ali returning home with his sister’s pink colored worn-out shoes that were taken to a cobbler for repairs. On his way back home, he stops at a fruit and vegetable shop to buy some potatoes for dinner. He keeps the black bag containing the shoes outside the shop, and goes inside the shop to sort through the mass of potatoes. A rag picker mistakenly takes the bag and dumps it in the dumpster-cycle thinking it is a part of the day’s junk. Teary-eyed Ali arrives home to reveal this unfortunate development to his sister who starts crying and keeps probing her brother (while doing her  school homework) about what will she wear to school. Ali comes up with a solution to manage this crisis for a while, to hide this fact that Zahra’s shoes have been lost from their parents as it would be one more burden for their parents  – both can share his pair of tattered sneakers, as her school is in the morning, while he attends his school in the afternoon. A sort of new regime is inserted into their day :  Zahra rushes back to her home without tiny a pause, meets her brother secretly in the middle of her way back home, passes the sneakers to her brother who runs to his school. But this new secret mission of swapping shoes does not prove to be a great solution as it does not allow Ali to reach his school on time, and both the children with no other better option in their hands struggle through one uncomfortable situation after another, while hiding this from their parents and teachers.


Meanwhile, Zahra sees her lost pair of shoes on a schoolmate’s feet, and follows her home, who eventually becomes her friend. On a day off, Ali accompanies his father to the city’s wealthier localities in search of work as a gardener for a little extra money that would take care of the family’s financial needs {their happy discussion on the dad’s rickety cycle, after a hard day’s work, about getting a new pair of shoes for the little girl, however, ends at a bitter note when the cycle collapses due to the failure of brakes – a journey of hope ends in frustration}. At school, Ali comes closer to something that is far more promising enough to resolve the shoe crisis at home : a high profile children’s race with lucrative first and second prizes, and a pair of new sneakers happens to be the third prize. Ali in his badly destroyed and tattered shoes competes and tries not to lead the race throughout, but accidentally wins the race, and the first prize, which unfortunately, is not the one he desires for (a pair of sneakers, the third prize).


 The film ends with Zahra realizing that she will not get a new pair of shoes, but a shot of their father’s cycle at the end of the film captures a box of red shoes.


The film’s portrayal of life being manageable and inherently sweet {not in a very indulging manner, but the sense of fulfillment that one would feel at the end of hard work and perseverance} despite countless hardships, in a gentle & relaxed style {with basic images such as fish swimming in a pool captured with almost a poetic fascination} and the comfort of Iranian life, family and customs {like the family prepares sugar cubes to be served at the mosque, younger kids caring for elderly neighbors}  sets this earthy & essentially sunny creation apart from the rest – a young boy deeply upset about losing her sister’s shoes, his younger sister, though, grief-struck agreeing to work along with her brother  to find a solution to the crisis without burdening their parents who are facing finance driven familial worries.  Well, reminded me of my school days when we girls used to survive a whole academic year with a single pair of brown canvas shoes, which used to develop holes somewhere in the second or the third quarter of the year. A sweet of reminder of our childhood when we were deprived of basic childhood indulgences like birthday parties, dolls, and other entertainment. A sweet reminder of all those long discussions our parents used to have before every purchase/financial decision that’s beyond their capacity or demanding enough to trigger some kind of planning and managing their limited resources. A sweet reminder of   one crucial lesson that we learnt from our parents : a paisa saved is a paisa earned…certainly an incredulously alien thing for the present Generation that leads highly pampered lives. 

source : if you are not able to see the video, do click on this …



Jim Jarmusch’s Coffee and Cigarettes is a film shot in gorgeous black and white, with overhead shots of perfectly arranged cups and ashtrays set on a checker-pattern tablecloth, and is full of supple & masterfully orchestrated light hearted talk. It is a cool, languorously stylish collage like film {features who’s who of hipster icons} that jumps from one vignette to another to reach a relaxed and ruminative buzz : the negative health effects of Nicotine and Caffeine {coffee and cigarettes often seem to go hand in hand. The nicotine makes a cup of joe tastes even better}, Cousins so different in personality, lifestyles and aspirations – grungy loser and successful movie star indulging in some conversation punctuated often with a patch of silence, a waiter spouts theories on Evil twins to twins, Bill Murray chugging coffee straight from the pot, Renee French reading a guns-and ammo-magazine while  repeatedly getting disturbed by a clearly smitten waiter, Roberto Benigni & Wright playing a game of musical chairs while enjoying tiny cups of coffee, Treatise on Nikola Tesla’s theory of ‘Acoustic resonance’, Alfred Molina trying to bond with Steve Coogan who could be distantly related to him due to some incomprehensible family tree……..

yet to complete……


Mark Herman’s “The Boy in the Striped Pajamas’, is a wonderfully crafted film with an emotionally riveting & wrenching end,  captures the innocence of childhood and secret friendship between two boys juxtaposed with a grim landscape of adults that is filled with hatred, racial abuse and horrifyingly senseless human destruction, the darkest chapter of human tragedies. The film is based on the best selling novel by John Boyne.


This film is about Bruno, an eight-year old German boy {precocious, curious and explorer by tendency} who befriends Shmuel, an eight-year old Jewish boy {gloomy, weighed down in spirit} in a nearby concentration camp, blissfully unaware of the atrocities, the ordeals that people are going through, and the enormity of the human destruction behind the fence. theboyinthestripedpajamas-21Set in Nazi Germany in the 1930s, the film journeys through a sunny, cheerful, warm and comforting childhood of Bruno {whose father is a high ranking Nazi officer promoted from a Berlin based position to be the head of a concentration camp that is used to house and eventually dispose of Jews} to reach the country side breathing out grim and bleak terminating songs of human lives. The film’s intention to engage with the complexity of the holocaust in a manner that could influence children as profoundly as adults begins from this point. Bruno who is not that enthused about this sudden move (away from his friends in Berlin to an isolated cold & distant looking mansion in the country side) notices a farm surrounded by a tall barbed wire fence with farmers and children dressed in striped pajamas milling about, a delightful discovery for the kid who wants a playmate. But he fails to understand the sudden frosty tension between his parents when he articulates his desire to play with the kids in the farm, and why he is  forbidden to visit the farm where  ‘strangers – not like them’ people live. Thus captured how naïve Bruno is and how far away is the endearing world of children from the meaninglessly destructive existence of adults. Despite constantly being under the watchful eyes of his mom and the housekeeper, and many other restrictions, he keeps himself engaged with exploring the woods in the backyard. On one of his daily adventures he reaches an unguarded barbed wire fence where he meets Shmuel, an amiable & starving young Jewish boy, and thus begins a secret & very unlikely friendship speckled with Bruno bringing him food, playing Checkers with him from the other side. A rendezvous where the sunny and cheerful side of childhood {albeit with a narrow worldview} bruno-2boyinthestripedpajamas-1collides with a grim childhood burdened with an incomprehensible sadness, insecurity coupled with confusion over  mysterious disappearance of elders in the family {hardened childhood}.theboyinthestripedpajamas-3 At home,  Bruno’s mother {who has no clear idea about what her husband actually does in the countryside, until she sees the smoke coming from the stacks and is made aware of the atrocity behind the smoke and the smell that accompanies it* a young soldier callously remarks on the stench of burning bodies*, one amongst a few difficult scenes in the film} presents a distinct German point of view on the Nazi’s mission to destroy a  human race.


The film tracks gradual changes in Bruno’s perception about the world around … at first hopelessly naïve …a sense of wonderment and admiration for his father being a great man who is defending the country in the war… the concentration camp is a farm.. Jews are strange people wearing striped pajamas, …{to} the numbers on those pajamas are part of a game, …{to} his inability to understand why that elderly Jewish helper in the kitchen/house gave up being a doctor to become a domestic servant who peels potatoes in the kitchen, why should one hate Jews {through careful indoctrination}, why is it so difficult to find a good Jew, why can not he be friends with Shmuel, the conflict between the lessons he receives and the reality he faces : Jews are supposed to be bad & yet Shmuel is nice, why can not Shmuel play freely like him…{to} a painful realisation of the fact that his father did not make any effort to save the elderly Jewish man from a humiliating punishment… {to} a pang of guilt for not being able to declare Shmuel as his friend on a specific occasion…{to} a quick reflection about the real/actual concentration camp that looks so painfully grimly & different from the ‘Concentration camp with positive working conditions, a cafeteria, and various kinds of entertainment avenues for the comfort of Jews’ that’s being propagated by the Nazis. As the film progresses, we see both Bruno and Shmuel losing their innocence and growing up too fast & too quickly {much to their discomfort} to come closer to the reality of their circumstances. One of the boys is free and the other is trapped in the concentration camp. The most compelling and brutal yet real ending of this film starts creeping on us when Bruno slips into a striped uniform (shirt, pajamas and a cap), enters the concentration camp to help Shmuel in his search for his papa who mysteriously disappeared, and in the process of which he loses his German identity & becomes part of the human march towards some deadly and abrupt a termination that usually involves thousands of Jews being herded like animals into a gas chamber, where naked men and children huddle …..

I came across quite a few intellectual and adultish debates on this film, how can an eight-year old boy be so naive and ignorant of those disturbing developments around him etc etc. TIME’s review says the looming presence of starkly factual Anne Frank’s Diary, Primo Levi’s recollections of the death camps, Schindler’s List in our minds renders this film ludicrous. A quick snap at this set of folks – ”KGOY – Kids Growing Older Younger’ is a phenomenon in the recent times.


“A sort of truth-crisis that made me feel suddenly that I had to take a stand. What is truth and when does one tell the truth? It became so difficult that I thought the only form of truth is silence. And in the end, going a step further, I discovered that it, too, was a kind of mask. The need is to find a step beyond”

– Ingmar Bergman on Persona

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