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globalpeacefoundationindia · 4 years

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Effects of Childhood Abuse and Bullying on Kids

As a child, our world is shaped and influenced by our parents and those around us. We look at this world, we set our own role models. Our entire perception of the world is focused on what we are shown and exposed to in our homes. We're told that we should be careful of strangers. We're not allowed to speak to them or accept any food they offer us. However, that's not always enough to shield the children from being targeted.

According to the CDC, 1 in 4 girls experiences some form of sexual harassment during their childhood. As for the boys, it's 1 in 13. Of these, 91% of such cases are committed by identified relatives or family friends. As far as the abuse is concerned, 1 in 5 children goes through it at some stage in their childhood. While this data is for the US, the reality here in India is not much different. In 2018, 109 children were sexually abused in some way each day. In addition, child abuse is one of the lesser reported crimes. Although there is a scarcity of data on harassment in India, some 60 percent of children are subject to some form of bullying.

A kid who has been through abuse is going through an ordeal that is horrifying. Short-term effects vary from physical injury, fever, delirium, pregnancy, and bed-wetting among many others; while long-term effects include PTSD (Post Traumatic Stress Disorder), depression, eating disorders, sexual problems, increased risk of suicide and heart disease, and more. Victims might also engage in self-harm, suicide ideation, and drug abuse. It is harder for them to 'blend in’. The kids who bully often exhibit psychopathic traits as well. As a result, they are now more prone to bullying at the hands of other kids.

As in the case of violence, it is difficult to describe precisely what constitutes harassment. However, whatever the particulars might be, the results are most readily noticeable. That includes mental health problems such as depression and anxiety, a decrease in academic performance, changes in sleep habits, and eating disorders. It creates a feedback loop; the negative effects of abuse make the child more vulnerable to such attacks.

A kid who is on the receiving end of one of these things is more likely to face challenges in different aspects of his life. These kids sometimes tend to blame themselves, they start to believe that everything they're going through is their own fault. As a result, their self-esteem is hit and everything just keeps going down the spiral. That's before someone walks in. Unfortunately, however, in India, most parents have never been educated to deal with such scenarios.

I was a 5-year-old child when I was sexually abused by a boy who lived in our neighborhood. He was way older than I was, and by no means could I have fought him. There was blood, there were bruises, but they never caught anyone's attention. It went on for over a year, and I stayed quiet because I thought he was serious when he said he was going to kill my mother. All this stopped when a lady who lived nearby saw him drag me to his house and told my mom about it. As I said earlier, she wasn't sure what was to be done, and I was just told, "Don't play outside near his house again." I forgot about this incident for a long time until 2017, when one day, all of a sudden, I remembered that I had been through all these things, what my mother's reaction was like, and how he must have done this to so many other kids, simply because he was never stopped.

In my case, my mind buried those memories deep down, but the ripples created by them could still be observed. I have struggled with body image problems during my childhood, suffered from periods of extreme mental fatigue, evidently for no cause at all. All this didn't make any sense until I told a trusted friend about this, who was studying to be a therapist. The saddest part is that I don't know what I should have done in such a situation. I was a kid, who was going to trust me? As a consequence, I avoided brooding over the past.

After all this, one can't help but think, what are we supposed to do about it? It would be a good start to break the kind of dynamic that exists in our families and be a friend to our children first. A child is more likely to trust a peer than an elder or any other authoritative figure. We need to build a safe place for dialogue, and we need to make sure that anyone who approaches is given appropriate help. Even in India, we have Child Welfare Officers who can interfere in cases where the child’s family is not letting the incident come to light.

We need to educate our kids from an early age about what kind of ‘touch’ is bad. Similarly, an educated public opinion is very important as well. Build networks of people who are willing to help, and ensure that the spaces that we thus create are safe for a child who has been traumatized. Since the effects of such abuse can be life-long, one must also try to educate adults about how to provide a safe space for their partners who have been through such incidents .

A good amount of research has been done today and it establishes how severe and long-lasting the consequences of childhood abuse are. We need more trained professionals who can help the survivors better cope with the effects of such trauma. In the end, we need to realize that we all might have a predator very close to us, the important thing is to keep an eye out at all times. Especially when kids are around.

References :

Preventing Child Abuse & Neglect Centre for Disease Contol (CDC) https://www.cdc.gov/violenceprevention/childabuseandneglect/fastfact.html

Ramya, S.G., Kulkarni, M.L. Bullying Among School Children: Prevalence and Association with Common Symptoms in Childhood. Indian J Pediatr 78, 307–310 (2011). https://doi.org/10.1007/s12098-010-0219-6

Bullying and psychopathic traits: A longitudinal study with adolescents in India.

By Thakkar, Niharika,van Geel, Mitch,Malda, Maike,Rippe, Ralph C. A.,Vedder, Paul

Psychology of Violence, Vol 10(2), Mar 2020, 223-231

Understanding Child Abuse and Importance of Child Protection https://www.savethechildren.in/news/understanding-child-abuse-and-child-protection

Hall, M., & Hall, J.(2011). The long-term effects of childhood sexual abuse: Counseling implications. Retrieved from http://counselingoutfitters.com/vistas/vistas11/Article_19.pdf

- Somya Kumar

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bigyack-com · 4 years

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Kangana’s Thalaivi Vs Ramya’s Queen: Our web series releases first, says an unfazed Ramya - tv

Actor Ramya Krishnan, who essays the role of former Tamil Nadu chief minister and late actor J Jayalalithaa in the web series Queen, is not too worried about comparisons with Kangana Ranaut, who will also essay the role on the silver screen in her trilingual Thalaivi. Ramya told Mid-Day in an interview, “I know there will be comparisons, but our show will release first.” A production of MX Player, the series has been jointly directed by Gautham Vasudev Menon and Prasath Murugesan of Kidaari fame and will begin airing on the platform this weekend. The show categorises Jayalalithaa’s life into three segments. It will focus on her life as a school-going girl, a teenager and the phase when she joined politics, taking MG Ramachandran’s place after his demise. Also read: Panipat: Protest against Arjun Kapoor’s film intensifies, BJP leaders Vishvendra Singh and Vasundhara Raje demand ban On the other hand, Kangana’s Thalaivi will hit screens on January 26, 2020. Directed by AL Vijay, the film is being bankrolled by Shailesh R Singh. The actor was heavily criticised for her over-the-top prosthetics in the first look poster and teaser. Asked about taking up Queen, Ramya said, “My first reaction was, what else, but a yes! Jayalalithaa was such a strong woman. It is not easy for a woman to emerge powerful in a man’s world. She went through hurdles and came up triumphs with grace. I have been her fan all my life, but unfortunately never met her.” Ramya recently told Hindustan Times about her role, “Some characters compel you to take on the challenge and being Shakthi was one of them. Be it her disciple, her will to defy the norm or her innocence in the hard world she lived in was something that appealed to me and I knew I must take up this project.” Inspired by Anita Sivakumaran’s book, The Queen, the web series claims to portray fictitious characters. However, Ramya’s character Shakthi Seshadri bears a strong resemblance to Jayalalithaa. Follow @htshowbiz for more Source link Read the full article

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shippersark · 5 years

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Super Deluxe Review : In an Ensemble of Quirky Characters Vijay Sethupathi Reigns Supreme

The film can be seen as a spiritual successor to 'Aaranya Kaandam'.

The opening credits of Super Deluxe are reminiscent of Kumararaja’s earlier work Aaranya Kaandam, and are played over Senthamizh Paadum from Vaira Nenjam, if I remember correctly. The opening scene, too, reminds one of how Subbu was introduced in Aaranya Kaandam. There, the woman was treated like a piece of meat. Here, the woman feels pleasure. You hear the squeaky sounds of the bed. The camera slowly pans to establish every minute details of the room. All this happens over ‘I’m A Disco Dancer’ song, and the title card appears in a Kumararaja-esque style. Cast: Samantha Akkineni, Fahadh Faasil, Vijay Sethupathi, Ramya Krishnan, Mysskin and Gayathrie Director: Thiagarajan Kumararaja Storyline: Six actors. Four writers. Two cinematographers. One unusual film. In more than one way, Super Deluxe can be seen as a spiritual successor to Aaranya Kaandam. If the latter was about male impotency, Super Deluxe embraces the idea of sexual fantasies; Kumararaja delves deeper into the darker side of human mind, without being least judgemental about his characters. If Aaranya Kaandam tried answering what dharma is, Kumararaja takes it a notch higher in Super Deluxe and questions the concept of morality, and how humans derive their own boundaries, in a more exploitative way. It makes a comment about chaos theory and how meaningless life is. The film, in many ways, is the result of a confluence of four different world views (written by Kumararaja, Mysskin, Nalan Kumarasamy and Neelan K Sekar). And it’s amusing how Kumararaja connects interrelated themes and subjects within the confines of his milieu. He seems to rejoice the genre-hopping; the film begins as a black comedy and ends like a dramedy on life, sex and spirituality. And that's the least spoiler-free review one could write about a film that is overly layered. At its heart, Super Deluxe is about four stories that are interwoven together, making it hard to guess who wrote what. Mugil (Fahadh Faasil) and Vaembu (Samantha Akkineni in a remarkable performance) are in a marriage of convenience. Something terrible yet insanely-funny incident happens to them and that triggers a series of unwarranted events. Their conflicting-yet-affectionate nature makes you wonder as to what would have happened to Chappai and Subbu (from Aaranya Kaandam) had they lived together. Elsewhere, a motley group of sex-deprived teenagers visit a CD shop to satisfy their quest for bittu padam. For some strange reasons, I kept thinking about Chittu and his gang from Aaranya Kaandam, and what if it was their coming-of-age story, before they discovered the art of seducing older women? Kumararaja never really explored the warring relationship between Kodukapuli and Kalaiyan, and brushed it off with a powerful “avaru en appa”. But he does in Super Deluxe, which comes in the form of Shilpa (Vijay Sethupathi) and Rasukutty. Shilpa is the most honest portrayal of a transgender in a long time. She’s humanised; we see why she’s rejected by society. We empathise with her when she says this about sexuality: Serupa maathi podra mathiri. We sense her helplessness when she’s assaulted at a police station. It helps that Vijay Sethupathi was chosen to play this complicated, dark character. He brings a certain vulnerability, especially when Shilpa meets Arputham (Mysskin). Which brings us to the shockingly-delightful story about Arputham and Leela (Ramya Krishnan in her boldest role yet). Super Deluxe draws humour from the most unlikeliest places. When Shilpa demonstrates how eunuchs earn money with a sharp clap, Rasukutty says, “Ae...super pa nee.” The film, in fact, makes a self-reverential joke about Aaranya Kaandam, when a gangster prods an important question: kadaisiya enna padam paatha? Remember the Kamal-Rajini banter? A deeply religious person turns blind eye to an important piece of information. His whole life has been a lie. And when he breaks open the sacred sculpture, he finds diamonds in it. It's a brilliant touch. Another filmmaker would have explained the why. Kumararaja doesn't. Watch Super Deluxe Video Reviews Here No other filmmaker has probably romanticised the Tamil cinema universe with pop culture references as much as Kumararaja. Consider the scene where a character croons Vanithamani from Vikram before watching porn, or the one where a character drapes saree over the Maasi maasam song (It isn’t a coincidence that a doctor is named after MS Viswanathan). If Subbu went through a Baasha-like transformation in Aaranya Kaandam, a character here (ironically named Manickam) undergoes a similar transformation. There are inside jokes too. Arputham invents his own bible called Anjathey Nambu. Rings a bell? And these bits aren't added just to make them look cool. In one of the earliest stretch, a character says, “Dai rascal! Enna maranthutiya?” For a moment, it felt as though Kumararaja was asking this question to us: it’s been eight years since he made a film. If Super Deluxe is what you get from a filmmaker who was in exile, then you don't mind waiting a few years from now till he comes up with his next eccentric film. Credits: The Hindu

Super Deluxe Movie Review: Thiagarajan Kumararaja crafts a path-breaking film that deserves more than one watch to understand the depth in each characterisations, says our review.

Movie Name:Super Deluxe Director:Thiagarajan Kumararaja To appreciate or rave about Thiagarajan Kumararaja has become a cliche, but Super Deluxe gives you no other option. It is just the second film for the director but a giant leap for Tamil cinema - in terms of storytelling, editing, and more importantly, ideas. While sharing his initial reaction to the story of Super Deluxe, Nalan Kumarasamy, one of the writers of the film, said, "We feel that we are all playing the same game but when I heard the narration, I realised he is playing a different game altogether." Super Deluxe is a different game indeed. The film is like an alien in Tamil cinema, but, ironically, it is the closest depiction of Tamil society we have seen. Kumararaja has himself said that it is hard to pin Super Deluxe down under one genre. It is easy to call it a black comedy, but there are a lot of things at play here. Without a doubt, the film is dark. It looks at perversion, sex, cuckolding, porn, sexuality, and god with a big lens, unlike any other Tamil film has done before. But even in a film about gloomy things about life, there is a heart in Super Deluxe, a big one. The tone the film takes in dealing with the subjects is refreshing and unprecedented. Take this scene for example: As Shilpa (Vijay Sethupathi) comes out of the room after being sexually assaulted, her little son asks her "Adichaangala (Did they beat you)? Shilpa, wiping her tears, says, "Yes". He then asks, "What did you do in response?" Shilpa subtly puts, "Kadichaen (I bit)." Given the situation, the audience is left wondering how to react to such a joke. The film is eccentricity at its best. The story of Super Deluxe has many stories running parallelly. Each has some sort of connection to another. Shilpa, a transperson, goes back to her wife and son after seven years. Vembu (Samantha) and Mugil (Fahadh Faasil) are trying to get rid of a body. Three teens are in pursuit of a 48-inch TV, which has to be replaced before the parents of one of the guys return home. Their journeys make up for one psychedelic trip called Super Deluxe. The most surprising aspect of the film is Thiagarajan Kumararaja's social commentary. It is omnipresent in the film. Every street and gully has a poster of a B-Grade film or the other. Every scene has some noise that runs in the background. It could be a song from television or a recorded advertisement of a street vendor or a melodramatic dialogue from a movie playing on TV, the world of Super Deluxe is a symphony of noises just like ours. And the kids in the film! When Tamil cinema uses children only as instruments of love and melodrama, a boy in Super Deluxe keeps shouting 'f**k' a million times. Kids are just a reflection of adults in Super Deluxe. Their halos are mercilessly taken away. The aesthetics of Super Deluxe make all the difference to the film. The locations the director has chosen to even stage a mundane scene is so unique. Also, unlike the director's first film Aaranya Kaandam, Super Deluxe is more colourful. Each frame keeps reminding you that the film is quirky. At times even an unremarkable gully looks like something peculiar through PS Vinod and Nirav Shah's camera. Music or noise is omnipresent in Super Deluxe, and without Yuvan's BGM, a scene like Shilpa's meeting with Arputham (Mysskin) wouldn't have worked at all. More than the performance of Vijay Sethupathi, Ramya Krishnan, Mysskin, Samantha and Fahadh Faasil (who are incredible), the teary face of Gayathrie and the bulging eyes of Bucks with all his perversions and the super intelligent Ashwanth Ashokkumar make Super Deluxe a league apart. Super Deluxe is a leap, a giant one. Thiagarajan Kumararaja crafts a path-breaking film that deserves more than one watch to understand the depth in each characterisations, says our review. 4.5 stars out of 5 for Super Deluxe. Credits: India Today

Language: Tamil Cast: Vijay Sethupathi, Samantha, Fahadh Faasil, Ramya Krishnan, Mysskin Director: Thiagarajan Kumararaja How does one talk about Thiagarajan Kumararaja’s second film, Super Deluxe? A logical place to begin is perhaps the director’s first film, Aaranya Kaandam. Super Deluxe is certainly something of a companion piece. The monologue-y trailers are similar, as are the multiple storylines revolving around ensemble casts and bound by an overarching philosophy. (Remember “Edhu thevaiyo adhu dharmam” from Aaranya Kaandam?) There’s even the sense of a cinematic universe being created, one that contains both films (and maybe future films from this director). The women in these films have similar-sounding (and male-sounding) names: Vaembu/Subbu. From a poster on a wall, we sense that Jackie Shroff’s character from Aaranya Kaandam appears to have existed a little before this film’s timeline. I could even imagine the father-fixated little boy (a superb Ashwanth Ashokkumar) in Super Deluxe growing up to be the Guru Somasundaram character’s son in Aaranya Kaandam. And remember the little plane that the Ravi Krishna character “swallowed” as part of a magic trick? We get big planes here, and they perform their own bits of magic. And yet, the films are different. Aaranya Kaandam was filled with adrenalin-pumping pleasures: the pulse quickened at the pulp rhythms, the slo-mo stretches. And the film was emotionally direct: you felt for the Guru Somasundaram character and his son, and you laughed at the story about the gangsters named Gajendran and Gajapathy. Super Deluxe is far more ambitious, and moment for moment, far less instantly gratifying. It’s a long, slow fuse that keeps you on edge about when it will explode, and when it does, it’s a big bang. Or, perhaps, the Big Bang. WTF, right? More on that, later. For now, I’ll just say I’ve never seen anything like this in Tamil cinema, with its mix of the sacred and the profane, the epic and the intimate, the earthly and the otherworldly, the pop-cultural and the philosophical. It’s a film you want to view as much with a microscope (zooming in on the details) as a telescope (zooming out to the bigger picture). The characters, then, are as much microbes as stars in the cosmic scheme of things – as puny as the ants and centipedes we see in frames, and as vast as… Well, let’s discuss that after you watch the movie, shall we? But here’s a partial list of the people you’ll meet. There’s Vaembu (Samantha Akkineni), who’s married to Mugil (Fahadh Faasil). Another story involves Jothi (a very affecting Gayathrie), whose husband is now a transwoman named Shilpa (Vijay Sethupathi). A third story is about a bunch of hormonal boys, and the parents of one of them: Leela (Ramya Krishnan) and Arputham (Mysskin). Leela is a former porn actress, and Arputham has turned into a religious nut. He’s formed his own cult after a near-death experience at sea, which explains the marine-blue walls in his “place of worship”. Themes and motifs keep sneaking in and out of the various story threads. So the blue on Arputham’s walls bleeds into the shirt that Mugil wears and onto the sari on Shilpa, just like the mole on Leela’s back finds a twin in the one above Shilpa’s lip. If you like getting off on details like these, Super Deluxe is like Penthouse and Playboy rolled into one. All of this would be little more than postmodern pranks if not for the film’s magnificent design. This is not the first film to tell the story of three couples, but where earlier directors treated these stories like intimate domestic drama, Super Deluxe makes them something almost infinite, spanning the breadth of human (and other) existence I’m sure alert readers will chip with more of these “patterns”, but here’s a sampling. A corrupt cop (Bagavathi Perumal) is compared to a public toilet – and a public toilet is where Shilpa gets into trouble. The tears in Vaembu’s eyes CUT TO a teenager’s tears in another story. Two of the episodes feature an absent father. A man (Mugil) is humiliated by his wife’s doing, just like a woman (Jothi) is humiliated by her husband’s. The exquisite line that Shilpa uses to explain herself (“just like we sometimes slide the wrong foot into the wrong slipper, I was put into the wrong body”) is echoed in a sound thrashing delivered by a gangster. His “weapon”? A pair of slippers. A television programme about aliens is linked, later, to posters of Aliens on a dirty wall. And on the same wall, we see the poster of a film whose subject is life and its mysteries. The same could be said about Super Deluxe. This is a lip-smacking combination of “high” and “low” art. You could write essays about how this director’s vision is deliberate (perhaps even dictatorial, even though the co-writers include Nalan Kumarasamy, Neelan K Sekar and Mysskin). Note the careful use of deeply saturated colour by cinematographers PS Vinod and Nirav Shah. And note the very specific props, like the kuthuvilakku that acknowledges Arputham’s former self, from when he was a Hindu. And yet, at the same time, you could write essays about this film’s use of “matter songs”, whether ‘Vanithamani’ from Vikram or ‘Paal Vannam’, the wedding-night number from Paasam. A moment where Shilpa disrobes is set against ‘Maasi maasam aalana ponnu’, and the semi-clad images (what we see on screen, and what we recall from that older song) are such contrasts that it’s like listening to a bhajan at a disco. Also, recall that this song is from Dharma Durai, which is also the title of a… Vijay Sethupathi movie. All of this would be little more than postmodern pranks if not for the film’s magnificent design. This is not the first film to tell the story of three couples, but where earlier directors treated these stories like intimate domestic drama, Super Deluxe makes them something almost infinite, spanning the breadth of human (and other) existence. (Those ants! That centipede!) Thiagarajan Kumararaja has said he was sparked by the looping story-structure of Jafar Panahi’s The Circle, but I was equally reminded of something like Paul Thomas Anderson’s Magnolia, which gave the epic treatment to a series of mundane incidents that do not usually get the epic treatment on screen. (There’s also an equivalent, here, of Magnolia’s “rain of frogs” moment; I almost fell out of my seat.) But the Magnolia moment was Biblical. Super Deluxe, on the other hand, is casually dismissive of a judgemental being sitting up there in the sky. Everything’s just… chaos, as “random” as the design that created life on our planet. Which is why the film’s working title, Aneedhi Kadhaigal, would have been just as good a fit. Super Deluxe suggests something plush and expansive, like the priciest room in the kitschiest hotel. And yes, there will be those who say that there’s perhaps a little too much room in this narrative, which clocks in at nearly three hours. Perhaps you couldtake away the track revolving around Arputham — Leela would have still driven that story and brought it to its glorious conclusion. But without Arputham, we wouldn’t have had that connect to the oceans, which is, after all, where life apparently began. And we wouldn’t have had the connect between Arputham and Shilpa, through a line about forgiveness. Which is why you feel nothing could have been left out, everything has its place in this design. This sprawl, this “messiness” is part of this movie’s DNA. But Aneedhi Kadhaigal, which translates to “amoral tales”, would have pointed to one of the most rewarding aspects of Super Deluxe. The wife who cheats on her husband, the porn actress who’s unapologetic about her work (and how cheeky to see this character played by an actress known for her “Amman” roles), the man who did ghastly things to children, the teenagers who cheat and steal — they all come close to being punished, but they all get away with happy endings. This is Thiagarajan Kumararaja basically saying “fuck you” to conventional Tamil-cinema morality, where “loose women” and “evil men” end up suffering for their sins. Leela’s spectacular retort to Arputham, near the end, questioning his “God”, is one of the most thrillingly nihilistic lines uttered in our cinema. It’s not a message. It’s not a moral. And yet, it strikes at the very core of one’s belief systems. There’s a lot of everything in Super Deluxe. There’s a lot of entertainment. There’s a ton of black humour. (The name of a man who needs money? Wait for it… Dhanasekar.) There are elements from sci-fi. There are elements from noir. (Think of the dubious statue in The Maltese Falcon). There’s a farting corpse that functions as some sort of marriage counsellor. There are also gorgeous grace notes, like the child who does not discriminate, yet is very clear about what he wants. In other words, there’s a lot to take in during a first viewing. While watching Super Deluxe, I felt what Pauline Kael described in her review of The Godfather: Part II: “the exploding effects keep accumulating. About midway, I began to feel that the film was expanding in my head like a soft bullet.” If you recall, The Godfather: Part II is more leisurely paced than Part I, less immediately affecting, but by the end, far more profound. That’s how I’d describe the relationship between Aaranya Kaandam and Super Deluxe. Part of the emotional aloofness we feel comes from the slightly disorienting way the narrative plays around with timelines, and the shot-taking that follows this grammar. We aren’t “eased” into scenes. There are very few establishing shots, and we are thrust into interiors from which we view the action. (A lot of scenes, therefore, end up being framed by doorways, or else cramped in the alleys between tightly grouped buildings.) We get the sense of being trapped with these characters, and only when they inch towards liberation do we feel their freedom. The visuals, too, open up. The set pieces are not flashy (like in Aaranya Kaandam), but slow-burn beauties, like the sensational stretch of chaos (Sathyaraj Natarajan is the editor) that ensues when a boy sets out to kill his mother. Both in the writing and the making, the director is leagues ahead of the form he displayed in Aaranya Kaandam. The more logical (as opposed to the experiential) part of the brain keeps raising questions. Is the best way to wreck a car to park it across railway tracks and pray that a speeding train isn’t too far away? Would a man who evidently cares about his wife and son just take off like that, and not even send the odd “don’t worry about me” message? What functions do Mugil’s anti-Establishment rants serve – are they confined to his personality, or are they, too, part of the Big Design? (Fahadh Faasil seethes marvellously.) But piece by mysterious piece, everything comes together, and the smallest details pay off in the most delightful ways – like how Mugil’s acting classes allow him to “perform” (though off stage, and with no audience). Super Deluxe is produced by the director himself, and it’s interesting to note what his company is called: Tyler Durden and Kino Fist. The former is the id character from Fight Club, the ugly-secret part that few of us expose in public. The latter is what Sergei Eisenstein called his technique of intellectual montage, using editing not just to let the story “flow” but to manufacture meaning through violent juxtaposition of images. I’m not saying all of this actually happens all through Super Deluxe — these are, after all, philosophies. But there is the sense of a filmmaker who has unleashed his id, and is refusing to play by the rules (of Tamil society, and of Tamil cinema). There is the sense (though much gentler and subtler than with Eisenstein) of provoking reactions not just through the telling of a story but by slapping its components together and making us live spectators to whatever is taking shape. This is an utterly unique film, a brave film. We see this bravery in the songlessness, in how Yuvan Shankar Raja calls attention to a situation about infidelity by reusing his father’s classic song about infidelity (Ennadi Meenatchi). A less-secure composer might have fought harder to impose himself on the score, which is marvellously minimalistic. We see this bravery in Samantha, who does some of her best acting in the scene set in a warehouse. She unleashes her own Tyler Durden, doing an up-yours to conventional wisdom about what heroines (especially married ones) should and shouldn’t do. And we see this bravery in the spectacular Vijay Sethupathi, who makes Shilpa come alive through the tiniest, most offhand gestures – say, the way he gracefully adjusts his sari pallu. I thought that, for a Tamil-film leading man, the transwoman aspect of this character was itself an indication of ballsiness. But there’s more. That scene in the police station, with that corrupt cop? Wow. Most of our stars simply want to play-act as heroes, with punch dialogues and “mass” moments. Here’s one who emerges heroic even with his “masculinity” completely erased. Credits: Film Companion Super Deluxe Story: A couple try to dispose a dead body; a little boy gets a surprise when he meets his estranged father; a son discovers his mother’s other side; a religious man starts having doubts over his God… What connects these four stories? Super Deluxe Review: Super Deluxe gives us four stories and the protagonists in each of these stories are tested in their beliefs in the strangest ways. For the married couple Vembu (Samantha) and Mukil (Fahadh Faasil), the situation in which they get into is a test of their marital relationship. It is a test of her love for her son for Shilpa (Vijay Sethupathi), a transgender who has come back to her family. For Arputham (Mysskin), who has survived the tsunami and found a new God, and Leela (Ramya Krishnan), a former porn star who is desperately trying to save her injured son, Soori, it is a test of their belief in God and humanity respectively. And there are also three lads who face a literal test of bravery. Giving out anything more about the plot of Super Deluxe will ruin the fun and joy of experiencing something singularly unique. There is a heartless and horny cop, a quirky don, a publicity crazy politician, a greedy doctor, unwanted neighbours, a loyal Man Friday, and more in this crazy world that Thiagarajan Kumararaja has come up with. The performances are first-rate all around. Vijay Sethupathi’s Shilpa is a new high for the actor, while Fahadh and Samantha are instantly likeable. Mysskin and Ramya Krishnan are solid while the gang of boys are great finds. Then, there is Ashwath, who wins our hearts, and a cast-against-type Bhagavathi Perumal, who makes us want to murder him. There is black comedy, double entendres, swear words, WTF moments, political and social commentary, romance, sentiment and even a musing on what it means to be life on Earth. There is ambition, genius, and also a beating heart. Credits: TOI

“Got porn, Madam?” That’s what the high school boy known variously as Milk Carton and Egg Muffin asks a DVD store clerk after some stammering feints in the Tamil movie “Super Deluxe.” And, yes, Madam has porn. But, surprise: When Egg Muffin and his pals start to watch it, one of them becomes enraged. That’s his mother onscreen. This sets off a chain of mostly comic events that are, by turns, ominous, bloody and cosmic. And that’s just one plot strand. In another, a married woman’s ex-boyfriend dies in her bed, setting off a chain of comic, ominous events. In a third, a little boy pines for his father to return, and the father does — but now transformed into a woman. (Another chain ensues.) The director Thiagarajan Kumararaja, who also had a hand in the script, takes his time setting all these shaggy, laconic story lines in motion. Part of the movie’s pleasure in its early going is figuring out whether and how they will all merge. Another pleasure is visual. Colors pop off Kumararaja’s palette (the cinematographers are P.S. Vinod and Nirav Shah), and there’s always something to look at in his Chennai. This isn’t gleaming, ascendant India; it’s the lived in one, crumbling around the edges, a little romanticized but recognizable in its narrow alleys and concrete stairwells and power outages. “Super Deluxe,” Kumararaja’s second feature, has been a while in coming after “Aaranya Kaandam” (2010), which was a critic’s darling. No wonder — Kumararaja’s work is stylish and wry, with an indie-cinephile sensibility. (It’s no accident that “Kill Bill” and “Gangs of Wasseypur” posters hang on the DVD store’s wall.) Part of that sensibility is a frankness about sex that’s still unusual in Indian movies, especially commercial ones. Though nothing explicit is shown, all the story lines in “Super Deluxe” have a little sexual motor, and there’s plenty of frank, off-color language, too. Kumararaja also elicits some wonderfully deadpan performances from his actors. The teenage boys have a believably nerdy-raffish rapport And Samantha Akkineni, as the cheating wife, builds a character of unexpected depths. “Super Deluxe,” though, runs three hours, and Kumararaja loses his way in the draggy, overlong second act. It includes not one, but two drawn-out scenes of threatened rape. (We know the ugly outcome of one, though it happens off camera.) That these scenes, with their leering Bollywood-ish villain, verge on the cartoonish doesn’t save them. They’re part of a tonal problem — what was mostly delicate and offbeat tips into something cruder and messier. They also serve as a reminder: Cinematic sexual liberation for (and by) men can be punishing for women. Credits: NY Times Read the full article

#'SuperDeluxe'Review #SamanthaAkkineni #SuperDeluxemoviereview #VijaySethupathi

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threedillusionmusic · 5 years

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fashiontrendin-blog · 6 years

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I Asked a Bunch of Industry People: What’s the Point of Fashion?

http://fashion-trendin.com/i-asked-a-bunch-of-industry-people-whats-the-point-of-fashion/

I Asked a Bunch of Industry People: What’s the Point of Fashion?

I have had a very dramatic question on my mind since Amelia and I set foot in Paris together last February for the fall 2017 shows. We sat at a cafe drinking cappuccino at tables that were far too small for our laptops but which we managed to use for work anyway. She was working on a review that would publish when New York woke up four hours later, and I was doing math — adding the cost of our plane tickets to our hotel room to the number of nights we would be in Paris to the food we would most likely consume and the pair of shoes or jacket or sunglasses I would probably end up buying because there is something about Paris that burns a hole through your pocket if you so much as to attempt frugality.

I was also thinking about who reads our reviews, who cares that we cover shows — that with flowery prose we try to make sense of the fashion trends that lay ahead, to unlock the Da Vinci code that is the designer’s most intimate thoughts. Do the readers care? Do they need more than a photo on Instagram to get what they crave: a brief (but often wondrous) look at what’s new? Would they prefer to see glimpses of real life instead? (I know I would!)

So I asked myself: What are we doing here? How did we get here? Is this what fashion is about? Are we acting true to our ethos or simply following along on a track that has been bound toward derailment for years? And then I endeavored to answer this question: What’s the point of fashion? Does fashion week have anything to do with it? Have we conflated the two?

I have always metabolized fashion as my own form of escapism — a temporary tattoo that lets me speak with wild conviction but then take it back whenever I want. Fashion is so much more than just clothing for the people who feel they can let it in; it can become the greatest sum of its parts, a megaphone for articulation where words simply will not work. It can be a drug-free boost that makes a terrible day seem slightly better, a reminder through the depths of desperation that even if nothing else is going as I’ve planned, I’m armed. As Diana Vreeland famously said: “Fashion must be the most intoxicating release from the banality of the world.”

Below, 12 editors, writers, designers, shop owners, stylists and consultants share their opinions on my burning question: What’s the point of fashion?

“Fashion, to me, represents life. When I wear something that makes me feel more…creative, more interesting, stronger, complicated — that’s when I feel the most alive, the most engaged with the world. Changing my wardrobe is the quickest route to feeling like everything is new again, that anything is possible. So the purpose of fashion is to make you feel alive and present. I hate it when people get too philosophical about fashion, but this really is the truth!”

Amy Smilovic, founder and designer of Tibi

“The purpose of fashion can be as simple as: You need clothing to maneuver in the world. Forget fashion as trend, think fashion and clothing as necessity. You need a pair of pants, a shirt, shoes to go on that interview, to the grocery store, your cousin’s wedding. It’s how we present ourselves to live.”

Rajni Jacques, fashion director, Teen Vogue and Allure

“I know practically, fashion is art, it’s commerce, it’s function, it’s expression. But I also can’t mistake the simple gut reaction I have when I see something I love, that really knocks me out. It’s like out of the blue, finding something special that you’ve lost. You know that feeling: ‘Oh geezus, THERE it is!’ And then, somehow you find a way to make it your own, and once it is [your own], you’re just a little bit more yourself than you were before you found it? That’s fashion to me. Collecting beautiful little pieces of yourself over time.”

Christene Barberich, co-founder and editor-in-chief of Refinery29

“A form of expression without the use of words. To me, it’s very personal, real and raw; it’s a way of syncing the internal with the external. Or maybe at times it’s just securing a feeling you want to nurture. It’s never about the people around me. To me, that’s like ordering from a menu for someone else — only you know what you want to eat…if you order someone the burger and think, Oh they will LOVE this, you never know, they could show up and say, ‘I became vegan about two hours ago.’”

Claire Distenfeld, owner of Fivestory

“Joy. That is the purpose of fashion for me. The joy of wearing something that makes you feel powerful or beautiful or in control. The joy of seeing a fashion show so beautiful that it turns you into a wide-eyed eight-year-old. The joy of buying something you dream about, or giving that to someone else. The joy of the new. It’s not about feeling less than — less cool, less rich, less skinny (as I know fashion can so often do). It’s about what makes you feel better.”

Laura Brown, editor-in-chief of InStyle

“There are many forms fashion take, from what I wear to drop my daughter off at school, to what I wear to fashion week. The brands that I gravitate toward all share a similar philosophy of quality, integrity and individuality. What and who you wear and how and when you wear it are all part of that personal expression. While being mindful of not over-consuming and not wanting to simply buy all the time, I try to be thoughtful with any purchase of ‘fashion’ to be sure that it can have a long life in my wardrobe and on me. The purpose of fashion, for me, is many things. It’s work, it’s protection, it helps me communicate who I am.”

Ramya Giangola, fashion consultant

“The purpose of fashion is to negate our persistent fear of death. Decorating ourselves in particular things helps to craft an identity, which creates the illusion of permanency. If we buy things and we define the way we look, it makes our existence feel more real and everlasting. The end! (But hopefully not.)”

Lauren Sherman, New York editor of Business of Fashion

“Fashion celebrates women. Women aren’t the only ones who get to wear fashion, of course, but women drive this business on the consumer side and in media, sales, PR, styling and design. Every morning I walk through doors with a powerful woman’s name on them. Most editors I work with are women, with other women at the top of their mastheads. This will appear on a website masterminded and run by women! My first job was at Oscar de la Renta, and he used to say that his clothes were love letters to the people who wore them. At the heart, I think that’s what fashion should always be about: the celebration of a person’s beauty and strength, on and off the runway.”

Gabby Katz, account director at Karla Otto

“The point of fashion is to protect you. But that can mean different things. Most basically, fashion exists to cover you; the ‘protection’ can change depending on who you are and where you are. Fashion can be used to boost confidence (protect you from feeling shitty about yourself), to protect you from being an outsider (you bought a fleeting trend). At various times in my life, I’ve dressed specifically to protect myself from appearing approachable because I was feeling shy.”

Ruthie Friedlander, site director, InStyle

“If you’re outside of fashion’s congregation (if you just don’t care, or if it in no way crosses your radar), the point of fashion as an abstract or an ideal or something conceptual, I hope, is to at least spark a thought. ANY thought. A throwback, an idea, a reckoning, a consideration of a moment in time, pop-related or otherwise, that resonates. There are things that can be pondered and traced through fashion. And I think that’s the real point: to give you pause and make you consider, for a second, something broader.”

Nick Remsen, freelance fashion writer

“Fashion is about storytelling through clothing; it’s about the stories behind them and the ones you create around them. It’s a cultural influence, backstory or intellectual touchpoint that you can trace back to what you’re wearing. We use it to escape the mundane, to embrace and celebrate tradition. It’s about a sense of history and pride and it embodies a greater sense of purpose than just a garment tossed on to cover bodies.”

Shiona Turini, freelance stylist and consultant

“Fashion ties us to moments of our existence. It adds to the elements of our emotional and physical sensories by being a literal fabric and thread in our lives. I’ll never forget the feeling of saving enough money to buy a green Benetton rugby shirt, or this yellow dress with brown pom-poms that I had when I was four. Think about how emotionally tied you can become to a wardrobe in a film — to me, that is the point of fashion: to help connect and mark time.”

Karla Welch, celebrity stylist

Photo by Simon Chetrit.

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