Mare of Easttown Analysis

Mare of Easttown (2021)

Created and Written by: Brad Ingelsby
Directed by: Craig Zobel

Starring: Kate Winslet

Streaming on Disney+Hotstar.

It's a murder mystery show. It follows a similar structure, of all shows. We see a world in Ep-1, a murder by the end of Ep-1 and we see all possible characters in the world by Ep-2. By the next few episodes, they create a doubt on some of the characters - they lie about stuff, but not probably because they are the killers, but because they messed something else up which they don't want the cops to know about it. The doubts keep clearing as we go, and finally there's someone amongst the characters who turns out to be the killer. More suspects. Broadchurch, Unbelievable, and most murder mysteries have the same structure.

The good part about Mare of Easttown though is the character exploration of Mare. Her coldness, perhaps her way of overcompensating for being called weak as a woman by sexist men back then. The ending of Ep-3 is my favorite scene of the whole show - it shows us to the extent where Mare can go to have her family with her, to take custody and not let go of anymore people - the way she lost her son. It plays in the grey area, and also acts as an 'all is lost' moment in the show. Zabel's character, I felt was nothing more than a tool for a terrific cliffhanger. It perhaps explores Mare as a person a bit too.

Although one thing I would've done differently is, they arise terrific mystery on the Priest and Dylan in Ep-5, which I felt was too late. They could've done with one of them, in an earlier episode and clear it before moving to the next suspect. That way, Broadchurch was more even. This little unpredictability is interesting, but it felt a bit all over the place at times. Kate Winslet was terrific, her emptiness within, and the way she reacts and responds conveys that she'd have had a past. 

Unforgiven Analysis

Unforgiven (1992)

Starring, Directed and Produced by: Clint Eastwood
Written by: David Webb Peoples
Won the Oscar for Best Picture, Best Director.
Streaming on Netflix.

It's a revisionist Western - where the traditional format of the Western is subverted, in terms of who the protagonist is, their moral choices and consequences. A cowboy disfigured a prostitute by slashing her, after she laughs at his small penis. Outraged at this, the group of prostitutes announce a reward for the cowboy's death. Enter the hero, who has quit killing since a long time - to take up this job one last time so that he can take care of his kids. The premise is extremely visual - we see the violence - and then we see the old man, who has kids and is living in poverty. It feels like we could watch the film on mute and yet appreciate it. The general characteristics of a western, the wide landscapes, themes of revenge, bounty hunting, masculinity, all are fun to watch. Clint Eastwood plays the macho bad guy, and he is very good at it. I watched this film after watching Gran Torino - which now I feel is a nice gradual progression from playing good guys to bad guys over the span of his career. The difference in morality amongst the characters is also an interesting way of exploring the complexity of the world.

I find Westerns as a genre to be very fun. It's interesting how Quentin Tarantino and Coen Brothers have adapted the genre with their own personal voices and created entirely new genres out of them. I'd say the last 4 Tarantino films are a different genre altogether. What Coen Brothers did with No Country for Old Men, they created a modern Western genre - which I think was a reference for films like Hell or High Water. Ballad of Buster Scruggs is a musical Western, but it also makes fun of the genre at times. It goes without saying that Clint Eastwood's contribution to the Westerns is incontestable, but this film winning the Best Picture - I'm not quite sure. Because I felt that this is a great Western film, but it's not a great film - it's a good film. 

Pieces of a Woman Analysis

Pieces of a Woman (2020)

Directed by: Kornel Mundruczo
Written by: Kate Weber
Starring: Vannesa Kirby
Featured in Martin Scorsese's recent 40 best films of all time list. 
Streaming on Netflix. 

The writer-director couple wrote a play of the same name, which the film is based on, after going through a miscarriage themselves. The film talks about grief and dealing with loss. Coincidentally, I read a similar chapter yesterday in Cheryl Strayed's Tiny Beautiful Things, where a woman was dealing with guilt post miscarriage. Films dealing with grief usually follow the 5 stages of grief for structure: denial, anger, bargaining, depression and acceptance (Sound of Metal was a recent example). Here, we see Martha being in denial - where she rejects every feeling that she's conventionally supposed to feel, she turns cold towards everyone (mostly her partner). And then there's anger, when she confronts her mom and there's bargaining and depression when she's in self doubt herself as to what to do next, and when she decides to go to the court. It's acceptance, when she finally tells the truth by addressing the court, and accepts what it is. 

The play performed in Poland was done like a mix of a film and a play - where the birth scene was filmed with a camera and screened live in screens. That tells us why they'd have probably done the entire birth scene in a single shot. I'm surprised that I didn't even notice it was a 24-minute take without a cut - that's how immersed I was in the scene - because usually I notice long shots. The simple fact that I didn't notice, states that the scene worked for me. Vanessa Kirby was terrific in portraying the physical pain, and the way it was shot - I sometimes felt like the husband beside - who could do nothing but just keep praying that it happens well. The scene with the mother - it was a terrific scene, in spite of it being a monologue - because it flips the entire motive of the character - her mother challenges Martha by making her face the truth and inspires her to face it in front of the world. The choice of the location - the snowy landscapes - it helped in capturing the grief, along with the beautiful score. This film reminded me of '4 Months, 3 Weeks and 2 Days' which is also made with a similar subject matter and stylistic choices.

Dave Chapelle: The Age of Spin & Deep in the Heart of Texas

Dave Chapelle: The Age of Spin & Deep in the Heart of Texas

Streaming on Netflix. 

Dave Chapelle is among those who risk doing politically incorrect comedy - I don't know if he has become more PC in the recent years. He is not as brutal as Bill Burr though, but he has his moments. A lot of his jokes are very cultural specific, so someone who is not as well versed with American culture - might not enjoy a lot of his act. His callbacks are solid - in the Age of Spin - there is the man who rapes but saves set up which he does in the starting 20 minutes or so and he calls it back when he talks about Bill Cosby - that was solid. And him biting the sandwiches in the Texas one. His sexual jokes come suddenly out of nowhere, and I think that's what makes it work. The 'shooting love on chest' one was hilarious. Also the entire act about jacking off in the Texas special. He also makes very interesting faces, which makes his delivery very engaging. He has this unpredictable style, where suddenly it seems like he's talking about something serious - because he did talk serious a couple of times - and out of nowhere he throws a lame ass joke. 

Biriyaani Analysis

Biriyaani (2020)

Written, Sound Designed & Directed by: Sajin Baabu
Starring: Kani Kusruti
Playing at the online Indian Film Festival, LA.

The film is about Khadeeja navigating through life after her brother is accused of terrorism. Her husband divorces her, and she has to take care of her mentally unstable mother. After she dies, she resorts to prostitution and faces numerous assaults. The film has a religious setting - it explores all the facets of Islam - mostly the dark ones. As the film opens, we see Khadeeja not being satisfied, and her husband calling her names when she starts masturbating after he is done. We see the graphic visuals of a young boy's circumcision. We see a goat being beheaded. We see Khadeeja getting a text 'Talaq talaq talaq' from her husband - so it essentially shows us all the dark sides of Islam. The film navigates in the Three Colors: Blue space - for a while, it felt like this is perhaps her way of grieving the loss of her mother, her brother and maybe even the divorce of her husband - but she's also doing it out of feeling liberated finally. It's quite a complex headspace the character was in. Having said that, for some reason at no point in the film could I empathize with her. 

The director being the sound designer himself, I could see interesting usage of sounds at places; for example at the scene where Khadeeja sees that her mother has passed - they use sounds of thunder to create some drama. But apart from this scene, every scene is conceived in a realist way - but the problem is that, I couldn't feel. Realism is supposed to elevate the drama because it feels real. The ending, where she makes them eat the foetus - I was reminded of the ending of Great Indian Kitchen (I don't which came earlier). After she jumps, the film cuts to a sex scene with her ex-husband where she's having amazing sex - perhaps that's how she wanted life like. The film did a good job showing passionless sex - it feels so bad even looking at it, that we understand how she'd feel. I can also recall the camera angles being used in a way to show her power dynamics. The film was a surreal experience.

Alma Matters: Inside the IIT Dream Analysis

Alma Matters: Inside the IIT Dream (2021)

Directed by: Pratik Patra, Prashant Raj
Streaming on Netflix. 

We've seen such stories in 3 Idiots, the shows by TVF like Kota Factory, and Aspirants - but I'd say such stories have to be told again and again in different forms - till the narrative is changed, or at least till there is a duality in the narrative amongst all age groups. Do you push for excellence, or you be happy with what you have - the life altering question that could define who you are as a person. I'm not taking either side, I'm saying both sides should get to see the other one. To be able to make a choice as to which side you want to take - one should be equipped with the ability to think - and I think we should equip one with the ability to think rather than enforcing our worldviews on them because "they don't know". This show succeeds in doing that, unlike Aspirants - where success was sometimes corelated to being selfish or arrogant, and we mostly empathize with people who don't make it. In this show, we also see people who get jobs, and are filled with boundless joy. We also see people who quit and commit suicide. Everything exists. Excellence. Mediocrity. Satisfaction. Resent. Happiness. Despair. 

Being in an NIT, I could see that a life of experiences in college were similar - perhaps with a lesser sense of academic pressure. There were a few very interesting B-roll shots which actually made me feel strongly - after the entire 'illu' event - they show us a few shots of rain in the campus before getting into the suicide story - and the sound and the visuals of those few shots was so good that it immediately transported me to the rainy days in the campus of NIT Bhopal. It's interesting how a B-roll shot can do something like this. I liked the fly-on-the-wall where the presence of the filmmakers is not felt, perhaps because the people who they were capturing would've probably gotten comfortable, and kind of used to them filming. There are scenes of students smoking, shirtless in their hostel rooms discussing wide range of topics - from random shit, to deep philosophical observations. That's how college students are, they are either as silly as a monkey or as spiritual as a baba.

Once Again Analysis

 Once Again (2018)

Written and Directed by: Kanwal Sethi
Starring: Neeraj Kabi, Shefali Shah
Streaming on Netflix. 

It's a matured romance between a lonely film star and a single mother, both of them in their 40s. It has a 'Lost in Translation' vibe where the temporal aspect of the film is used to get us immersed in the mood of the characters, to depict their loneliness. For example, the scene where she goes into his house when he's having executives at his place - we feel the awkwardness they'd feel, because of the extra hold on him, it's purely because of the pacing of the scene. The tone of the film is very interesting - it doesn't directly insinuate anything physical between them and yet the romantic tension is always on between the characters, even when they speak on the phone. The sparing use of dialogue helps in making us believe that they mean what they say - unlike how teenagers would keep blabbering. It also doesn't use any superlatives like, 'I like you so much, oh my god'. These things help in bringing in the maturity in writing. 

Bombay is shot very well - they shot the streets in a guirella style and it helps in making us feel the texture of the city. The background score in the ending of the film, the touch of classical music, with the female vocals is beautifully used to add both intimacy and reverence to their relationship. Sound design is also used to depict contrast in their lives - when they are going about their rather chaotic life - there's a lot of ambiance sounds and only when they are talking to each other, or with each other - there is a lot of silence, and the only ambiance we hear is that of waves in the beach, or the rustling leaves in the breeze. The Hindi of the film felt a little forced, for example - the usage of 'aap'. I'd have rather seen this in Hinglish. Ye Jawaani Hai Deewani, cracked the dialogue very well - they use good, colloquial Hindi in spite of having a lot of modern, complex ideas in the film. 

Ramen Shop Analysis

Ramen Shop (2018) 

Directed by: Eric Khoo
Premiered at Berlin International Film Festival 2018. 
Streaming on MUBI.

After his father dies, a young ramen chef in Japan finds an old journal left by his Singaporean mother's who died 10 years back. On a hunch, he decides to travel to Singapore with the diary in hope to piece together their story. It's set in very positive worlds - in specialty food places, where people cook for the love of food and also, it's like a travel film where you travel somewhere to find something - you meet people, have conversations and learn more about life. Here, he meets a food blogger, and in this film - he's also visiting his past because his family is here - he meets his maternal uncle, and has good moments with him - learns a dish and discovers that his grandmother is still alive - which is essentially the piece he was looking for. 

The film has a very sweet, coming-of-age vibe to it. It reminded me of the film 'Sweet Bean'. Though, it doesn't have conflicts, a sense of story, and nor it's extremely engaging - what works is the feeling the film leaves us with, and the kind of feeling it makes us feel even while we are watching it. Recalling past. Memories which linger. Food. Love. Dealing with loss. Moving on and finding life. Family. These are the words that I can put together to describe the kind of vibe the film left me with. I also got a lot of 'Norwegian Wood' vibes from the film. The food is shot very well, the way they show each ingredients before they start cooking, or the way they show every item being individually served, and the way Singapore is captured - it all helps in creating the mood. The house at the ending, the pictures, paintings pasted on the yellow wall - the bed that he sits on - the music that plays in the background - everything comes together so well to create the mood and the feeling that I'm talking about. This film is a lot beyond the script - the way they shoot and edit it, totally makes the film what it is. 

Cleo from 5 to 7 Analysis

Cleo from 5 to 7 (1962)

Written and Directed by: Agnes Varda
Nominated at Cannes Film Festival 1962.

The film has an interesting premise - it's about an arrogant popstar, Cleo, who is rambling around the city during the 2 hours while she is waiting for her medical test results for stomach cancer. Let's breakdown the premise - it's interesting because the time span of the story of the film is just 2 hours and in spite of the pacing of the film, the low time span creates more interest. There is something for us to discover within the film, if she'll be diagnosed with cancer or not. And there's this format of a travel film, where she is randomly roaming, meeting people, and having conversations. This premise is so broad that different filmmakers will make drastically different films out of this. The film explores existentialism, where she is coming to terms with her mortality. The film explores feminism in a lot of ways - it discusses the ideas of men not taking her seriously, about how she looks at beauty and ugliness and also something as simple as we see a lot of women at work - the shops she visits, the astrologer in the starting, a cab driver, the nude models, and more. It just shows how France was much ahead in these regards.

The film is a brilliant tour of France in the 1960s, if not for anything - I was just looking at the streets, the cafes, the restaurants, the shops, the way people dress, they way people talk and behave - with their glasses, smoking, and the way they dress - the style of the culture is very well captured. Cleo is very interesting, she is beautiful, energetic, full of life and yet she complaints and acts in a cynical way - of course, she's waiting for her test results - this behavior is understandable - but with my understanding of the character - it felt like she was like this before too. The conversation with Antoine, the solider, was very interesting because he adds a lot of perspective on death and love. 

Karnan Analysis

Karnan (2021)

Written and Directed by: Mari Selvaraj
Music: Santhosh Narayanan
Streaming on Amazon Prime Video.

Karnan begins with a terrific opening shot, of a girl laying on a road and vehicles casually passing by her. This sets up the entire film for us with an opening image. But the film doesn't take long to establish that this film is about oppression - with the scene at the bus stop. I could see a lot of Rajamouli's style in this film, the way the kid pelts a stone at the bus, the horse goes back to the kid and the way his father who stops him all along, finally hands him a sword and asks him to go. Of course, films about oppression have a similar way of evoking emotion - by showing us ridiculous things that bad people do and evoking anger, to create tension and finally it all releases when the hero comes and fights it all. But with the riot scene in the ending, this film doesn't do that - it doesn't celebrate when Karnan comes back - that moment is long gone. I felt at a couple of moments, that Karnan should be back now, and he didn't - which means that the film is not trying to show us the glory of Karnan - it rather captures the tragedy of oppression in the garb of a commercial flick of Karnan saving the village. Finally, he comes and saves the village - but the feeling the film leaves us with is not that of a celebration of a hero rescuing a village - but a hard hitting reflection of the underprivileged in the society.

I often think that I'm not someone who'd fight for something - I'd rather let it be and move on with my life. I'm quite a passive person when it comes to conflict. With this film, I realized that even that is a privilege. I have ways around in which I can lead a normal, peaceful life. Imagine having to fight just for getting basics like food, electricity and survival. I understand why certain people are aggressive by nature - because that's how life has been to them - that's how they've got whatever they've got - by fighting for it. I liked Pariyerum Perumaal better than Karnan, for one - the exuberance that I felt when Karuppi returned - it's very rare. Only for that one moment, I would put that film over this and also that film is set in a slice of life, college kind of a setting where they establish all these problems - so I could probably relate more to that world. This world, though it evokes anger when injustice happens - it was more sympathetic than empathetic for me.

Cinema Bandi Analysis

Cinema Bandi (2021)

Directed by: Praveen Kandregula
Produced by: Raj & DK
Written by: Vasanth Mariganti
Streaming on Netflix.

It has a very interesting premise, initially when I watched the trailer - it felt a bit similar to Sainma. Villagers trying to do something with film. But while, watching the film - it has a different tonality. This film has a mix of Tharun Bhascker and Venkatesh Maha - it has the quirks and humor of a Tharun Bhascker film and the humanitarian angle of a Venkatesh Maha film. A lot of the film reminded me of our experiences with short films in college - finding actresses, messing up with basics and learning them the hard way, etc. The screenplay is solid with structure, inciting incident, Act 1, all is lost moment and the redemption. The plot of who lost the camera was interestingly opened by them looking at the videos, and then intercutting to that piece of the story. The climax reminded me of Cinema Paradiso - where they captured the joy people get by watching movies. 

I read a piece on how 'Everybody is a filmmaker at heart' is insulting to filmmaking as a profession, and how you won't say 'everybody is a doctor at heart'. It's an interesting argument, perhaps that comes from a point of view of mise-en-scene and crafting the production design, costumes, hair and make up to communicate something. But I think the idea of films, filmmaking is so broad and perhaps an exact, specific word to use would be content/creator. The film tries to capture the satisfaction of creating - and that satisfaction need not come only with creating art house cinema - it could come from a masala movie, or even a Tiktok video. So the film celebrates creating and is trying to encourage that. I get it, probably the word filmmaker is too broadly used that Martin Scorsese is also a filmmaker, and so is an Insta influencer. But, what's wrong in that? We call everybody humans, that doesn't make anyone any less of a person. 

Nayattu Analysis

 Nayattu (2021)

Directed and Co-Produced by: Martin Prakkat
Written by: Shahi Kabir, Cinematography: Shyju Khalid, Edited by: Mahesh Narayanan
Streaming on Netflix.

Spoilers Ahead. 

Just looking at the credits of the film makes me go 'wow!'. The cinematographer has directed and even produced films. The editor has written and directed two films starring Fahadh Faasil, and yet they work in each other's films as craftsman, and this is nothing but pure love for the craft of filmmaking. Coming to the film, it's a terrific thriller. They do solid worldbuilding for 25-30 minutes, they sprinkle what the film is trying to say here and there - with Maniyan talking about how even contract killers have a choice sometimes more than police officers as to who to kill and who not to. He goes ahead and wrongfully frames a guy, of course, because he is ordered to. This film is interesting because it has two levels of inciting incidents - one is the brawl which happens at the station which breaks the order of the film, and the main one is of course, the realization that the person who got hit is dead.

From there, it's these three cops on the run. For about 20-30 minutes, they are on the run and they crafted 2-3 simple and yet nail biting scenes. One, where the get down the bridge and get back into the car. And more such scenes. It also has a travel, life happening to them vibe where they are escaping and trying to survive. The tension builds up once we get to know that by 7 in the evening, some arrests have to happen. The cops are in pressure. Everybody is practically locked. It's like they have no choice, except integrity, which is perhaps not accessible at this point. The film then takes a terrific turn in the ending, where they make the arrest, Maniyan commits suicide, and we realize that they corroborated a fake arrest. This plot point is as good as an inciting incident of another film. That's the beauty of the film, it gets into a riveting angle in the last 20 minutes. The ending shot is a masterstroke in metaphors, about how after all this mess we have no clue about, we go and vote blindly. Though the film is a tragedy, it sprinkles a ray of hope with the fact that these two cops take a stand. 

Hereditary Analysis

 Hereditary (2018)

Written and Directed by: Ari Aster
Starring: Tony Collette, Alex Wolff
Featured in Bong Joon-ho's list of 30 best films of all time recently. 
Streaming on Netflix. 

The film has a terrific inciting incident, the daughter of a family dies in an accident which is indirectly caused by her brother and her mother. The film is about them dealing with the guilt of being indirectly responsible for her death, and it flows even without the supernatural element - because the trauma and the paranoia totally makes sense even without it. The way the inciting incident is constructed is terrific, there is a lot of tension that builds up to the event, and there is a lot of tension that it carries even after the scene and then there is a terrifying reveal - which is not a jump scare, it emotionally shatters us. The first cut of the film was apparently 3 hours, which was filled with a lot of conversations among the family. The cast members look at it as a family drama, more than as a horror film. Ari Aster says that this film is about suffering, and it slowly transforms into a nightmare of a movie. This goes well with the saying that 'a great horror film works even without the horror elements or the jump scares' although a terrific jump scare would any day be like a cherry on the cake for a good horror film. 

I really like Ari Aster's style of how he creates horror irrespective of our understanding of the tone of certain visuals. For example, in this film, we see Peter in his college, among a bunch of kids, and that shot seems like it's out of a coming of age film, but with Aster's usage of music, and the context of the film - it becomes creepy. Even Midsommar, the bright visuals never seem like it'd be a horror film. The acting of Tony and Alex was so good, their reactions to the horrific events were making the film even more scary. Joan was also so creepy, her niceness and her compassion was adding to the horror. This film wasn't as high on style, as Midsommar was, but yet this is a film which is strong on style compared to the usual horror films that we see. 

TVF Aspirants Analysis

 TVF Aspirants (2021)

Created by: Arunabh Kumar, Shreyansh Pandey
Written by: Deepesh Sumitra Jagadish
Directed by: Apoorva Singh Karki

Set in the world of UPSC aspirants, this show tells us the story of struggles, perseverance and mainly about dealing with failure, pulling ourselves together back again and moving on in life. The setting of Old Rajinder Nagar comes through extraordinarily by the way they shot it - both in exteriors and in interiors. They set simple, filler scenes in the canteen which has walls in the background with posters of toppers. In a stationery shop where they are getting notes. Students are walking in the background. Some naysayers are around. The madness and the chaos is constantly visible. The curiosity that kept building by how Abhilash is a collector now, in spite of him failing in the last attempt - that was interesting. Though, I figured that they'd use some convenient loop hole and cover it up, it was very helpful in bringing out the ending - where they show the relentless pursuit of a dream. The way he happily goes back to pursue it, even after 4 years of failure. There are beautiful moments in the show, where they talk about the fear of failure, about not knowing what to do - like the moment in Panchayat where Jeetu rants - these are the moments where we can see ourselves in the characters which TVF nails every single time. This time, the music helped like crazy. Whenever the violin track picks up, I was totally pulled into the show. 

For me, the casting of Dhairya didn't work that much. She felt a little out of place. She looked too elegant, well groomed, and poised for a UPSC aspirant, who generally don't even sleep that well, and for sure don't have time to take care of themselves that well. Or maybe she's an exception. But on the face value, it seemed a little off. Whenever Guri, Abhilash and SK fight - to keep the drama and tension high - they say insane shit to each other and it feels out of character. Who'd say stuff like, 'You ended up at Rajinder Nagar, what a failure you are' for something so trivial, and then they get back together so casually. I'm like: WHAT! Friendships can break when you say such stuff. It's the truth, but you wouldn't want to purposefully hurt or insult your friends so often right? And also, because of the lack of subtlety in these fights, we immediately give up on the drama and think that 'yeah, they're fighting now' and let it be. But the Guri, Abhilash fight in the finale was so convincing. Overall, I loved the show.

The Royal Tenenbaums Analysis

 The Royal Tenenbaums (2001)

Directed, Co-written and Co-produced by: Wes Anderson

I'm surprised to see that this film wasn't released after Amelie (2001). Both the films released in the same year, which means none of them were influenced by each other but to me, I can see a lot of similarities: in the tone of the film, the bittersweet mood that the film carries throughout, the narrative through the voice over of a narrator, introducing different characters with charge ins, symmetrical composition and mise en scene. Both the films use dark comedy too, the way they show Amelie's mother die, and the way here the dog dies, and the guy who attempts suicide. Hell, there are a lot of similarities and it's a shocker for me that such similar styles of storytelling were never influenced from each other. I was initially under the impression that Amelie would've been the inspiration for the entire filmmaking voice of Wes Anderson, but doesn't turn out to be true. 

I could see that perhaps Dil Dhadakne Do would've been influenced by this film - whether it's the dysfunctional family, the quirky narrative, the struggle in spite of being privileged - in this film, they become prodigies and yet suffer a lot in their adult. It goes to say that every segment of life can be different and it's a very hopeful worldview, because people who haven't "made it" can look forward to another segment of life. Life is supposed to be that way, if you make it once and relax for 10 years and still are the same - then that wouldn't be fun. There has to be a rollercoaster experience for us to be grateful for what we have. Lot of complex themes are explored in the film. Every character is fleshed out well, their flaws, and their emotional journey comes through pretty well. It's a nice template that Wes Anderson has discovered, where there is a unique filmmaking voice, but it also comes with a lot of extravagance, and hence it's good for them to sell the movie.