Posts

Showing posts from February, 2025

Camera and Aesthetics

Rain, are you a mirror or a glass? I see manicured hands lifting lenses high — then sitting back in their cars and snap! and snap! and snap! A filtered drizzle, an aesthetic post, "what scenery and a calming sound!" While gutters swell and laborers lie. Each drop applauded from a Hamam-house view Falls like debt on backs already bowed. The city's arteries clog with rue, But captions call it "beauty overflowed" Their poetry pools in rooftop drains, While we wade deep through the working rains.

Biscuit

Image
BISCUIT   Appetite is never just about hunger; it is a script written long before a child takes their first bite. It is the quiet arithmetic of power, the silent language of class. It dictates who eats well and who merely eats, who dines in abundance and who measures each morsel like a transaction.  One afternoon, in a government office, I saw the entire structure of society laid bare—not through policy documents or official decrees, but through biscuits, at the gate, the watchman sat hunched on a splintered wooden stool, tearing into a dry loaf of bread. Some tea in a worn-out steel cup, no butter—only dry crumbs falling onto the cold cement floor, that meal was not a matter of choice but of necessity, or maybe not but a calculated survival, the cheapest way to quieten an empty stomach. Inside, in the cramped corners of the office, the peon stirred his tea with care, dipping a single Parle-G biscuit into the cup, holding it in just long enough for it to soften b...

A critical appreciation of "I have to find that guy" scene from Asghar Farhadi’s "The Salesman"(2016)

 "There are no good and bad movies, only good and bad directors" -François Truffaut This scene is from Asghar Farhadi’s "The Salesman" (2016) in this scene where Rana tells Emad about the pick-up truck being missing from the place where she had parked it, throughout the brilliance of Faradhi surfaces itself not only in terms of cinematic aesthetics but the psychological depictions as well, the long-short camera cuts, Emad's handsign of appology two times and visible fear on the face of Rana tells exactly what Farhadi wants to convey, transformation of the assault from a random act of violence into something that feels almost targeted, intensifying Emad’s sense of violation and anger. This revelation propels Emad further down the path of seeking justice—or revenge—setting the stage for the film’s moral and emotional climax. Emad’s realization is not dramatized with overt expressions of rage or shock; instead, it is conveyed through subtle facial expressions and b...