“Nasir”… Arun Karthick’s superb second feature, about a Coimbatore Muslim, is a political film about an apparently apolitical man

Posted on March 2, 2020

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The genius of the film is that — by shunning conventional cause-and-effect melodrama — its active “plot” about communalism gets relegated to the sidelines, and we focus on the individual.

Spoilers ahead…

You can read the full review on Film Companion, here: https://www.filmcompanion.in/nasir-movie-review-arun-karthicks-superb-second-feature-about-a-coimbatore-muslim-is-a-political-film-about-an-apparently-apolitical-man/

“What can you say about a twenty-five-year-old girl who died? That she was beautiful. And Brilliant. That she loved Mozart and Bach. And the Beatles. And me.” Erich Segal’s Love Story opens with these lines, which suggest that a person is best defined through instantly discernable neon-highlights — the girl’s beauty, her brilliance, her love for Mozart, Bach, the Beatles. It’s what Alfred Hitchcock said: “Drama is life with the dull bits cut out.” Then there are others like the Belgian director Chantal Akerman who prefer to define a life with the “dull bits”. One of the most telling scenes in her most famous film — Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975) — is that of the protagonist in her kitchen, peeling potatoes.

Continued at the link above.

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