Category Archives: Great Films

Revisiting two Darren Aronofsky Classics

It had been at least 4 years since I last watched Darren Aronofsky’s classics ‘Black Swan’ and ‘Pi’ so I thought it would be a good idea to set a weekend aside to revisit both of them and gauge how different, if at all, the overall experience would feel like.

Aronofsky designs “experiences” for the audience and recently at the Hollywood Reporter Roundtable he candidly mentioned how he loves creating “genre moments for audiences”. He wouldn’t even have to say that because this is evident in all his works. Also, the beauty of his films is that they never quite sit in one particular genre (he speaks about this too). It’s extremely hard to find the exact point (I’m quite sure that would be a boring and mundane exercise if ever attempted) his films glide over from one genre to another.

As I come to think of it, I think ‘Requiem for a dream’ was the first ever Darren Aronofsky film I watched. It might be his best film, though I don’t quite have a choice for this title. I was awestruck by his vision and to this day I think it’s one of the greatest cinematic achievements of all time. So, let me get on with it.


I’ve revisited this film at least 5 or 6 times so far, to this day. Strangely enough, I am still surprised by it. With Darren’s films, you just don’t know what’s going to come your way. The marriage of music, visuals and story bring out this extremely convoluted and ambiguous experience that you don’t quite know what to make of. What does the character actually want? What is getting in his way? ‘Pi’ is actually so intelligent that it keeps you busy enough to not bother about the plot. Aronofsky moves you emotionally and sways you from point to point while reminding you that cinema is largely about the experience and not a well defined story. In the film, there’s often a “problem” mentioned and then it is discussed and dissected until you’ve had enough of it (sometimes you don’t) and then you might wonder, “what’s the larger purpose here?” Before you get enough time to evaluate that, something else hits you and this cycle keeps on repeating. New information, new ideas, new thoughts and so on. You’re so caught up with it and before you know it, the character reaches a point of no return. A thin story line lies below but this becomes somewhat clear to the audience only towards the end.

Somewhere in the third act, there are important philosophical questions brought up that really make you scratch your head. So this time when I watched the film I wondered, was Aronofsky suddenly so fascinated by all this “information” and “ideas” that he chose to make a film about them? Or was it to make a film about a character who has quite certainly, lost track of everything around him and is just buried into a world of mathematics and eventually religion and philosophy? It’s frankly, very hard to tell. ‘Pi’ is so “well rounded” that you can’t attribute the director’s interests to one particular thing. It’s a cumulative factor made up of numerous elements, some that we can’t even notice.

One of my favourite aspects of this movie is the narration. It’s the first thing that attracted me when I had just watched the film. Is he an “unreliable narrator”? I’d like to think so but on paper he isn’t, I guess. It’s a concept I’m extremely excited by. From the popular films you could check out ‘Shutter Island’ or ‘The Usual Suspects’ , there are quite a few others. So it’s fascinating how the narration is used in this film. My favourite line from the Max’s (lead character) voice over is,

When I was a little kid, my mother told me not to stare into the sun, so when I was six I did…”

I think this line is repeated 3 times (after a few revisits you could end up with such derivations). Frankly, it’s such a plain and simple line but there’s something very attractive about it. It sums up who Max really is. We understand that he is a rebel, he has a cause, he is interested in nature and he is not bothered by how nature could harm him. All these character traits are seen throughout the film and they are brought to the surface by the use of this excellent line of monologue.

The characters of Marcy Dawson and Sol are less talked about. Towards the start of the film, we could assume that Sol is what Max wants to be. Sol, however, is “wiser” and the wisdom comes from having already done what Max is doing right now. It’s all about numbers and derivations. It’s about pushing machines to their limits. It’s about what numbers mean in the larger sense. Marcy Dawson reminds me of the TV show Ellen Burstyn’s character aspires to be on in ‘Requiem for a dream’. It’s just that tone of voice and how Aronofsky uses it to “cut through the chaos” and the frequency of the same simply adds to the chaos. In the film you see Max struggling (in every sense of the word) to find an answer. He even suffers physically and so does his machine. His neighbour knocks on the door, he doesn’t answer. During times like these, he gets a call from Dawson and she talks in a tone of voice similar to that of someone trying to sell a product or a service via a telephone. It’s this peculiar tone of voice that is maintained throughout the film.

If you study the film closely, you see that every character has a peculiar tone of voice / accent / way of talking. All this adds to the tone of the entire film. These are important to how the film “feels as an experience” and for a first time director, it’s commendable.

I couldn’t begin to imagine what watching ‘Pi’ in the 90s must have felt like. I know it was rejected and hated on by a lot of people and eventually it turned out to be an indie classic. Darren Aronofsky deserves a lot of credit for sticking to his guns and never changing his voice for the Producers of his films. He has his ideas, that are hard to test. Even his films don’t test. There’s always a division over his films not just amongst the critics but also amongst the audiences. For me however, all his films are special. He offers us thrilling, brilliant independent films sometimes with star casts you would never see in “indie films”. He is well aware of how his movies could be “an assault on the senses” a quote used for his recent exceptional film ‘Mother!’ (That I was lucky enough to watch on a big screen TWICE in two days).

Black Swan

Probably Aronofsky’s most successful film commercially (not sure). I can make this assumption because it is certainly his most talked about film in recent years and in that aspect it is on par with ‘Requiem for a dream’.

Interesting quote by Aronosky on the movie is “Ballet fans don’t like horror and horror fans don’t like ballet”.

This one line could be used to gauge through all of Darren Aronofsky’s films. He has always tried to “subvert” genres and “cross over” and he does this so brilliantly that the film as a whole is it’s own type of unique blend that quite certainly hasn’t been watched before. Natalie Portman has given us spellbinding performances over the years, right from her child actor days. This might be her best ever performance. I also think the recent film by Pablo Larrain ‘Jackie’ (also produced by Darren Aronofsky) was one of her best. There’s obviously a long list of performances by Portman pre ‘Black Swan’ that could be strong contenders for the title.

The film starts on a beautiful and subtle note. There’s a breakfast scene somewhere in the beginning and you see Nina talk to her mother. There’s a cute round of laughing that follows. Sometime later, Nina takes a train to work and things begin to wobble. Darren Aronofsky and Paul Thomas Anderson are probably the best working filmmakers when it comes to “shifting” or “changing” emotion rapidly. ‘Black Swan’ really is a rollercoaster ride. It’s impossible, just impossible to get your eyes off this movie even for a second. You are so involved that you become Nina. You feel what she feels and you start anticipating danger the way she does. Jealously and insecurity are crucial emotions here and Aronofsky preys on them very intelligently. It’s not just jealousy on Nina’s part but also on the others.

The concept of “the darker side” is what keeps Nina on the edge. Vincent Cassel’s performance is so good, at times you just can’t pin point his motive. Nina initially believes she can embody both the swans but Cassel’s character Thomas has doubts about the “Black Swan”. He doesn’t find her to be seductive enough. What happens over time is a transition on Nina’s part. The way Portman chooses to embody this transition is applaudable. Nina in the first half of the film is not the Nina in the second half. It’s one of the smoothest character transitions in film history. You can’t begin to imagine how hard it must be when you’re playing a ballet dancer and are required to cross over emotionally while also having “episodes” at frequent intervals. Let’s say you’re playing the character of a gangster like the ones in ‘City of God’. The transitions are quick and rather simple because a large part of it is “understood”. When you’re dealing with such a fragile and subtle world, it’s extremely difficult to understand just how you would have to be two different persons over the better part of 2 hours and make that transition seem justifiable and smooth. All the nuances you attempt will be exposed. Every move will be noted and every emotion will be remembered.

It also brings up a question, “Do we all have a darker side?”

An unsaid message could be, yes we do. Nina had a darker side she wasn’t aware of. Her behaviour and overall demeanour changes as she starts grappling with the character of the black swan. She is not the same person anymore. She doesn’t become an easy person to be around. But she has a goal. A goal she is extremely insecure about.

Darren Aronofsky’s films are often a carefully managed mishmash of a lot of things. A lot of emotions, a lot of thoughts, ideas and feelings. They almost always start at a point and go to a point you couldn’t ever imagine. During the process of this, you don’t get the time to guess “Where will this go?” Because you are extremely involved with the character. Aronofsky’s films are always miles ahead of it’s audience.

Looking at his filmography, it’s the same as watching each of his films. You just don’t know what he would get his hands on next. Here’s looking forward to many many many more Darren Aronofsky films.

Why ‘A Ghost Story’ is a modern day masterpiece


There was something about the first look of A Ghost Story that was so brilliant, I couldn’t wait to watch the film. Everything seemed minimal, well designed and in some ways like a painting. After waiting for the film for quite a few months, I finally had a chance to watch it. I was awestruck. The film blew me away.
David Lowery’s imagery is thought provoking and extraordinarily immersive.

Here’s a summary describing the film via IMDB :

“In this singular exploration of legacy, love, loss, and the enormity of existence, a recently deceased, white-sheeted ghost returns to his suburban home to try to reconnect with his bereft wife.”

The film is simply fascinating. Anything more than that brief ^ would be giving too much away. Lowery uses long takes, gorgeously designed shots, incredible silences and creates a truly immersive experience. Needless to say, we are mostly watching the film from the Ghost’s point of view. Lowery’s depiction of the wandering ghost is so compelling, it forces you to think and rethink a lot of theories you might have heard about ‘life after death’.

The film is far from a horror. It’s more of a fantasy, drama and in some sense, a journey movie. Needless to say, the film is thoroughly original in it’s entirety. There’s a scene quite early in the film between the Ghost and Rooney Mara that for me, was on par with some of the best scenes from Spike Jonze’s Her. The strangeness, mysteriousness and ambiguity used to establish such an emotional connect has been done so brilliantly only a few times in modern day cinema.

A Ghost Story is a modern day masterpiece. David Lowery has created something so fascinating and original that it will be remembered as a benchmark indie film for years to come.

Why ‘The Wailing’ is one of the greatest horror movies ever made



Readers who’ve not watched the film, keep reading until I tell you not to. 

Na Hong-jin, the man and his movies: 


Na Hong-jin, in a way is like the Tarantino or Kubrick of Korean cinema. Not in any particular way other than the fact that he’s made 3 films so far, since his feature debut with The Chaser in 2008. Three films, Worlds apart from each other, all written and directed by Na Hong-jin. Few filmmakers, World over, write and direct all their films. Na Hong-jin is not only a great great filmmaker but also a stunning writer. It all comes together gorgeously for him. All his work seems to have been supported not only by an unending research but also, at times, by folklore, beliefs of people from the streets, villages, cities and the like.


He makes sure he’s thoroughly aware of the World, probably getting as familiar with it as the people from that World, before getting into it and giving us his films. Sympathy / Empathy are not things he seems to consider. He tries to get into the minds of the people he is dealing with and thus having sympathy and empathy naturally entering his films as genuine byproducts as opposed to something forced down our throats. May be this is why his films scream authenticity. His filmography has a huge element of ‘We don’t know what to expect next’. Little did the World expect The Yellow Sea after watching The Chaser and least of all did they expect The Wailing after The Yellow Sea. By this I mean, it’s slightly unpredictable and that he’s ahead of the people who’re following his work closely. Even better, he hasn’t yet disappointed. All his films have won acclaim. If you ask me, every time one would think he’s hit the ceiling, he gets even better.

4-5 years ago when I watched it, to me, The Chaser was brilliantly written, performed and directed. One of the most gripping thrillers I have ever watched, I must add. Not only does it keep you on the “edge of your seat”, it makes it a point to whack you in the face about six or seven times throughout. After having watched that film, I quickly moved on to his only other film by Na Hong-jin at the point, The Yellow Sea. Gritty, grim movie with excellent treatment, almost a journey movie of sorts, it really got me wanting to know everything about Na Hong-jin. How a filmmaker, who also wrote his own stuff, found spaces within genres to move about with such impeccable detailing, was appalling to me.


It was clear that Na Hong-jin meant serious business after first two films of that kind. Sadly, we weren’t quite sure of when to expect the third film. It was only about a 7-8 months ago when I began to read about The Wailing on the internet. A couple of reviews from Cannes and some other festivals World over, we learnt that Na Hong-jin was entering the Horror space. You could only imagine the excitement. We waited.

The Wailing: Overview

I was quite shocked by The Wailing and I got an unending list of reasons to tell you about. Firstly, since I mentioned Na Hong-jin and his earlier work, it is important to understand that all 3 of his films are supported by a strong inherent understanding of the space he was getting into. To an extent, The Chaser is more of a genre piece. There’s no rocket science behind that. However, when you start approaching The Yellow Sea, things are totally different. The film has a number of satirical elements, an in depth understanding of illegal immigration, corruption and the brutality that binds it all together. This “deep understanding” shoots up astronomically with The Wailing. It all begin to make sense to me. Na Hong-jin had dived deep into his subject matter on all his films. The only difference coming from the fact that all 3 films come from different spaces, they all affect a viewer on different levels. Things started to get much more personal with The Yellow Sea and by the time we reach The Wailing, Na Hong-jin has a mind numbing impact on us. The only reason I could come up with is, the former two films are still a little distant from us. We can perceive that space between us and the matter the Director is dealing with. But The Wailing is about us. It tears into us and puts our short comings out on display. It breaks down the ideas surrounding society, religion, faith and all such things without holding back. Let’s begin.

For those who’ve not watched the film, good bye! (SPOILERS AHEAD) 

The Wailing: In depth analysis 


The Wailing begins with a quote from the bible

Luke 24:37-39, in which Jesus exhorts his followers

They were startled and frightened, thinking they saw a ghost. 
He said to them, “Why are you troubled and why do doubts rise in your minds? Look at my hands and feet. It is I myself! Touch me and see; a ghost does not have flesh and bones, as you see I have..

This somehow tends to be the most crucial theme of the movie. In a way Na Hong-jin may be trying to tell us that we have certain notions about ghosts. Some of them or probably all of them are incredibly wrong. Not only are we wrong now but we have been wrong for a very long time. Here’s what the Shaman, played by the brilliant Jung-min Hwang says;

“Not everything that moves, breathes and talks is alive. Countless people have perished because they didn’t understand that”

Both these quotes are strongly supportive of a lot of things that happen during the run time of this movie. The best way to analyse this film is to move character wise. Let’s observe the most important characters and try to understand the film.

We could label him as the lead character in the film. Everything or almost everything happens from his perspective.Kwak Do-won plays a rural policeman in the Korean horror film The Wailing.

He’s a simple cop, probably not so good at what he does, not so respected at work, always throwing an excuse for coming in late. In a way, trapped by the murders happening in the town and gets further sucked in when his daughter is in question.

The Japanese man:

20160504001039_0Easily the most controversial character. This is where we may part ways and have different opinions. It all depends on interpretations from now on.

According to people in the village, murders begin one by one AFTER the arrival of the Japanese man. This man claims to be a traveller and nothing else. The Shaman calls him a ghost, Jong-Goo can’t believe this, he tries to check himself. Along with the priest and his sidekick, Jong-Goo finds a lot “fishy” about this man, but still is not sure enough to call him a ghost. On their journey back, his sidekick presents him with a shoe. This shoe is claimed to have belonged to Goo’s daughter. This is where things begin to get worse for him and his family. Hyo-jin’s health begins to deteriorate soon after she starts acting strangely. By now, we may start assuming that the Japanese man, using her shoe, has gotten her possessed. We have enough evidences of devil worship in the man’s house. We could say that he’s possessed by the devil. After being run over by Jong-Goo’s car (probably being pushed by the mystery woman in white) his body is entirely taken over by the devil.
An evidence of how the Japanese man goes about his process is;
He finds a dead man in a car on the way to his house on top of the hill. Through his worship, he turns him into a “zombie” (zombies have been considered responsible for all the deaths so far either from being possessed or being affected by mushroom poisoning)

 The quotes by the Shaman and to the start of the film, relate to this because the zombie created using the man in the car, is actually dead. But “touch him and see, a ghost does not have flesh and bones..”
and for the Shaman’s quote; “not everything that moves, breathes  and talks is alive.” To end it, with the Japanese man being run over by Goo’s car, he is “dead” but…… Fill in the blanks.

The Shaman:


Entering the scene as a much needed helper, The Shaman has a journey of his own. He’s the first to doubt the Japanese man by asking Jong-Goo if he “disturbed” him. According to the Shaman, the Japanese man is a ghost. This is when he quotes what I’ve shared above.
Before the exorcism, he wants Goo to not interrupt. However, out of grave concerns for the life of his daughter, he does. From here, everything goes downhill. Especially for the Shaman. Goo ignores his calls. Near Jong Goo’s house he sees the white woman. As soon as he sees her he begins to vomit blood. Now we could infer that the Shaman, by now, is possessed and that she is trying to send him away (which she does). Considering his actions towards the end (with the photos / clicking new photos) something is definitely different about the Shaman now. If the White woman has tried to help from the start and she wants to send the Shaman away, may be she is right and he is wrong.

The Mystery woman in white:


Towards the start, she appears to help the cops. Initiating this process by throwing stones at them to grab attention. Just when Jong-Goo tries to use her as a witness, she disappears. She however, appears at important intervals in the film. The scene with the Shaman and with Goo towards the end are the most crucial. During the scene with Jong-Goo, she does not let him enter the house.

Now this could mean two things:

  1. She does not want him to lose his life. She probably thinks he’s important for the town and wants him to live. As his daughter is (at the moment) killing his mother and wife. She probably stops him because she knows he could get killed as well. Considering the fact that she’s possessed, this is possible.
  2. The hair pin raises the doubts. The fact that it was with her certainly is a reason to doubt her. Or, was she trying to free the little girl from the devil? If she was not, it was only a battle of egos between the Japanese man, the white woman and the shaman.
  3. if the hair pin was a reason to suspect her she also probably did not want Goo to get inside as he would STOP her from killer his family. But this is contrary to what she says. She says “If you go in your whole family will perish”

The Young Priest:

The young priest is looking for answers. He’s the nephew of Jong-Goo’s side kick. According to an earlier scene, he’s not yet a priest. He is LEARNING.
This explains him going to the devil’s den towards the end. He is young and he is ready to explore. In a way, the film is trying to say, “Only those learning and still young are trying to find answers and make a change. The ones with the topmost post / position in the hierarchy is one of “hands up! I can’t do anything for you”

Rest of the film

Most of the film is open to interpretation. The best touch to the story is the mushroom case. This is also a mystery. Na Hong-jin attacks the practicality inside you. As in, if you believe all this was not possible and you’re a cynical person, you definitely think it’s something to do with the mushrooms.
The film also has strong references to religion using symbols such the ram head, black dog, etc. I haven’t dived into any of these things. All these things were smartly used by the filmmaker.  However, I have tried to analyse it as a film. I’m not knowledgeable about those symbols but I suggest you check the internet. You’ll find a million answers with no guarantee about the truth. The deep overall impact is what needs to be understood.

The Japanese man offers black hens while the Shaman (during exorcism) offers white ones. The colours are important symbols considering the woman wore white (this could be a reason to NOT suspect her) as the rest of the film divides black and white as good and bad.
The fishing reference is crucial to the story. It simply means when the devil looks for a “body” it could be any “body”. It’s like fishing. You don’t know what you are going to catch.

Beyond this all, something brilliant that hit me was that the entire film is a statement on crime.



This is a line used by Jong-Goo’s mother. This is huge statement on crime because Na Hong-jin could be trying to say every criminal is possessed by something. It does not necessarily mean a ghost or something as dark as what The Wailing is speaking about. But every normal crime, every murder happens due to something taking over the person. This was an idea that got an impetus as soon as Jong-Goo’s sidekick killed his family members. The priest is told “After all he’s a victim”. Let’s think about it for a second. He just murdered his family. But he is a victim. Yes, because he is taken over by something and he cannot control himself.

Hands down, The Wailing is one of the best horror films ever made. It’s shockingly good. Na Hong-jin is shockingly good. Every performance is shockingly good. It all comes together gorgeously for him.