The Blog of Cafe Dissensus Magazine – we DISSENT

Posts tagged ‘Films’

A conversation with the Hungarian film scholar, Györgyi Vajdovich

By Murtaza Ali Khan
Vajdovich talks to Café Dissensus Films Editor, Murtaza Ali Khan, about the latest trends in Hungarian cinema, subsidies extended to Indian films shot in Hungary, and the growing popularity of Indian cinema in Hungary.

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Andrey Konchalovskiy’s ‘The Postman’s White Nights’ (2014): An Uncannily Moving Portrait of a Forgotten Community

By Arun Kumar

The Postman’s White Nights (2014) is an elegiac poem about a gradually perishing community. Director Andrey Konchalovskiy’s unforced quasi-documentary approach and perfect realization of this almost mythical atmosphere offers a deeply reflective cinematic experience.

The Truth was at Warner Bros

By Vivaan Shah
It seems evident to me at least in metaphorical terms that if Disney represented splendor, MGM glamour, Paramount pomp, Universal the circling globe, then the truth was at Warner Bros! 

David Lynch’s ‘Twin Peaks Season 3’

By MK Raghavendra
David Lynch is a difficult film-maker to write about if one wants to make any kind of rational sense of his work. It is not too difficult reviewing his films since reviewing is usually appreciation that does not commit itself to decipherment, but I don’t believe there has been much writing from film scholars which tells you what his films might mean to the spectators for whom they are meant.

Satyajit Ray’s ‘Devi’: A potent work of cinematic art

By Prithvijeet Sinha
Devi is an eye-opening, sensuously potent, sometimes harrowing, and ever so unconventional film. It sidesteps mawkish sentimentality to conjure up the ways of the mind, hitting hard at our deepest fears. At a time when alleged ritual killings in Delhi and Kerala have claimed lives, it’s a potent work to understanding our contemporary pathology.

Sam Peckinpah’s ‘Pat Garett and Billy the Kid’: The times maybe a changin’, but not me…

By Vivaan Shah
The images from Sam Peckinpah’s films seem to bubble and swell out of the filmmaker’s subconscious – what Freud called ‘the dream state’. Time and again he abandons chronological continuity and traditional film grammar in favour of the figurative. He has non-linear sequences instead of non-linear narratives, and deconstructs the very medium of cinema itself in an aggressively proto-Godardian fashion.