Immensely stylish, gorgeous shot composition (albeit not as substantive as you’d expect in such a dramatic film), immensely mysterious, knows how and when to be tense, excellent use of other films and TV (can only imagine how long it took to construct the sound of this film with all the fleeting ’dialogue’ from other media scattered throughout… incredible stuff), “very slow” ~Indu’s mom, “reclaiming Wes Anderson” ~Indu

Immensely stylish, gorgeous shot composition (albeit not as substantive as you’d expect in such a dramatic film), immensely mysterious, knows how and when to be tense, excellent use of other films and TV (can only imagine how long it took to construct the sound of this film with all the fleeting ’dialogue’ from other media scattered throughout… incredible stuff), “very slow” ~Indu’s mom, “reclaiming Wes Anderson” ~Indu

the act i put on after shawty catches me w the side hoe

the act i put on after shawty catches me w the side hoe

Mammootty is a fine actor

Mammootty is a fine actor

What an absolute treat Mammootty is. I thought the utter absence of camera movements altogether was very interesting, it certainly adds to the minimalism and groundedness that this film seeks to emulate. The only time this is broken is when his identity as Sundaram is upheaved when he is told that the barber he regularly goes to, is long dead. And I think that's beautiful filmmaking.

What an absolute treat Mammootty is. I thought the utter absence of camera movements altogether was very interesting, it certainly adds to the minimalism and groundedness that this film seeks to emulate. The only time this is broken is when his identity as Sundaram is upheaved when he is told that the barber he regularly goes to, is long dead. And I think that's beautiful filmmaking.

what in the identity crisis

what in the identity crisis