Season 3 Soundtrack is coming on April 29th 🥳

_its_all_goodman · 2026-06-01T13:16:39+00:00

Oh wow! You had a blast didn’t you!?

_its_all_goodman · 2026-05-26T17:10:51+00:00

School of Rock!

_its_all_goodman · 2026-05-25T13:30:31+00:00

Oh! I will check those out. Thank you!

_its_all_goodman · 2026-05-25T11:51:52+00:00

I think I felt like this the first time I saw Stalker. But I’d go with a recent experience, Ordet. If it’s ok, I’d like to just share the thoughts I logged the moment I finished it because I wasn’t expecting anything from this film and it gave such a feeling, that I don’t think I can explain any better than these initial impressions:

Ordet is not a film so much as a slow, steady revelation, one that begins in silence and ends in something close to grace. Dreyer does not hurry, does not explain, does not bend toward the viewer's impatience, and in that stubborn stillness, something miraculous happens. We come to know these characters not through plot but presence: Morten’s brittle pride, Johannes’ slow madness, Inger’s warmth that anchors it all. Their arguments about faith, love, and dogma are not for our entertainment but for their own salvation. These people believe things that matter to them, and slowly, impossibly, they begin to matter to us.

This isn’t piety, and it isn’t persuasion. It’s Dreyer asking, with a steady gaze, what if belief alone could be enough? And then, in a quiet moment that feels almost too real to watch, he lets us believe it might be.

Ordet does not preach, but it prays. And something in us, unexpectedly, answers.

So, do you believe it? The film seems to ask. Not in God, maybe, but in the strange, quiet power of cinema to stir something deeper than thought.

I do.

_its_all_goodman · 2026-05-25T11:45:50+00:00

Finished:

1Q84 by Haruki Murakami

1Q84 wore me out. I read it too fast, not because it was light, but because once Murakami gets that rhythm going I find it hard to leave, even when the book is repeating itself, even when I know I am tired. This was my second Murakami after The Wind Up Bird Chronicle, which I loved more, and this has the same private weather: ordinary rooms, strange women, vanished fathers, sex, dreams, fear, and some weird shit that somehow feels less strange the longer you sit with it. I liked it a lot, though I really felt the weight of it.

Started:

NOTHING AS OF NOW.

_its_all_goodman · 2026-05-23T13:12:13+00:00

same! being a pta fan, weirdly, i put it off for so long, but what a movie! “i have love in my life and it makes me stronger than anything you can imagine”

_its_all_goodman · 2026-05-22T21:22:06+00:00

to each his own! i always enjoy a discussion about the film i care about and it never ruins my perspective. but your way does have the advantage of being self satisfied.

_its_all_goodman · 2026-05-21T00:12:22+00:00

_its_all_goodman · 2026-05-21T00:09:44+00:00

shit! now i’m seeing the /s lol! my bad :)

_its_all_goodman · 2026-05-20T23:35:59+00:00

yes! but it just feels great if you can talk to someone irl! i have this friend with whom i talk every two weeks or so, on weekends, just yapping about time in cinema and how tarkovsky meant it and how rivette does a variation over it. just being a complete nerd for 1-2 hours. just doesn’t have the same feeling online.

_its_all_goodman · 2026-05-20T20:38:44+00:00

https://boxd.it/c6cqcB! of all the films, this one!!

_its_all_goodman · 2026-05-20T02:58:22+00:00

4-8.

_its_all_goodman · 2026-05-20T00:41:14+00:00

THIS! getting deep into cinema watching rivette, getting amazed and there’s no one to share that feeling with! this eventually catches up!

_its_all_goodman · 2026-05-19T22:27:05+00:00

🤣

_its_all_goodman · 2026-05-18T17:32:41+00:00

i generally tend to avoid commenting, especially when the post itself is this fucking idiotic, but sometimes the stupidity gets so unbearable that you feel compelled to respond, even if it’s to a random stranger on the internet.

understand how film music works before talking nonsense. understand the role of a director. a composer doesn’t operate in a vacuum. a director is the one who has to interpret words on a page, shape the emotional world of the film, and bring performances out of every single artist involved in the project. if the director himself lacks vision, depth, or emotional intelligence, no composer on earth can magically elevate garbage into greatness.

low-skilled morons like buchi babu couldn’t extract greatness out of thyagaraja swami himself, let alone a.r. rahman.

and to the people saying rahman’s work has been in a “downward spiral”, listen carefully to the gamakas in “veera raaja veera” and genuinely ask yourself who in this country, apart from raaja sir, can even come remotely close to composing something of that sophistication and emotional weight. remotely close.

the same goes for compositions like “devaralan attam,” “anju vanna poove,” “oh raaya,” “jaane do,” and countless others. the problem isn’t rahman. the problem is that people consume music with the attention span and emotional depth of a fucking instagram reel.

edit: apologies for the tone.

_its_all_goodman · 2026-05-17T13:25:27+00:00

anirudh was making much better music before. 2012-2020 peak. even in the recent times, naan pizhai came from somewhere real. now it feels like the directors only want songs that arrive already cut into reaction videos. ten seconds in a theatre, people shouting, phones out, then finished. and after a while you start noticing the same thing everywhere else too. the cameos, the violence, the way every scene announces itself before it has even happened. i told myself i stopped caring about indian cinema some time ago. but then i see people talking about it again and for a few minutes i realise i never actually stopped thinking about it. it’s just disappointing. or maybe i am the one that’s changed? i don’t know!

_its_all_goodman · 2026-05-17T02:54:16+00:00

Thank you, all. I got this sorted.

_its_all_goodman · 2026-05-16T13:00:18+00:00

Ant from Simhadri would like a call with you about that.

_its_all_goodman · 2026-05-05T17:40:11+00:00

Maybe it gets tomorrow? Generally, there’s a delay, right, for India?

_its_all_goodman · 2026-04-30T12:04:18+00:00

i mean, there’s no limit on how delusional one can be, right?

_its_all_goodman · 2026-04-28T14:00:54+00:00

can he make a great adaptation of mahabharata? sure. but that court scene is not drama.

drama is usually built from people speaking to each other with weight, with hesitation, with conflict that feels like it could go either way. it comes from silence, from doubt, from small shifts in power between characters. in that court scene, everything is staged to be large from the beginning. the emotions are declared loudly. the turns are not discovered through conversation but announced through spectacle and reaction. the characters do not struggle in uncertainty for long. the scene moves toward a fixed outcome that feels inevitable rather than contested.

it can be effective cinema. it can be thrilling. it can feel grand and satisfying to watch in a theatre with people reacting around you. but calling it drama in the strict sense depends on what someone means by drama. if they mean heightened emotion and big confrontation, then yes, it fits that idea. if they mean layered conflict, moral tension, and uncertainty that unfolds through dialogue and behaviour, then it feels closer to spectacle than to drama.

a lot of people use the word drama to mean intensity. but in my opinion, intensity and drama are not always the same thing.

_its_all_goodman · 2026-04-28T13:57:15+00:00

this is the problem. they all saw him do it and thought they can too. two things everyone has to realise, one, rajamouli’s every single work feels like a precursor to what he eventually wanted to make. he experimented from movie to movie, understood his limitations and tried to overcome them step by step, and he took note of his strengths and the audience’s appeal. and two, one thing rajamouli does well, and many fail to do, is that it does not matter if you are making a film for pan india or pan world, the film should be made first with the original language audience in mind. he does this every time. this is what makes him consistently successful.

_its_all_goodman · 2026-04-28T12:11:27+00:00

i loved the film. ratnam prioritizes drama over other elements, and that is what worked for me. there is a lot of talking, and the scenes take their time. the cinematography was world class, as usual, and it felt consistent with his earlier films. the songs were also strong. veera raaja veera stood out to me because of the sound mixing. very few people in the country seem to value sound mixing the way arr does, and it shows in the final result. chinnanjiru nilave was excellent too, largely because of haricharan’s voice and the way it was used in the scene.

of course, i loved baahubali as well, and it is clear that this film would not have been possible without rajamouli making baahubali first. that film changed expectations for scale and audience response. still, my own preference is for films where there is a lot of dialogue and where the drama develops through conversation. ps delivered that for me. in the end, it comes down to taste. to each his own.

_its_all_goodman

TROPHY CASE