Oscar time makes me nostalgic for prepandemic Mumbai.
Though I left the city nearly four years ago, I remember how there were Oscar weeks with back to back screenings of the main nominated films. Documentaries and foreign films that made the coveted list had to wait. This was before we all began to watch content on streaming platforms instead of the camaraderie of seeing films in theatres. A communally shared experience gradually receded into the penumbra of memory and films became a solitary pleasure, especially now that we can’t even host or attend watch parties.
This mini binge watching — with major misses because many are unavailable even to rent — brought back the pleasure of watching films, instead of getting used to series, the prolonged, finely detailed narratives that have the luxury of time to flesh out subplots and back stories. We relearnt an old lesson: film demands more from the maker, to fulfil our narrative expectations within a limited time and yet, give a complete viewing experience, whether the classic three act structure with a catharsis that left us emotionally cleansed, or the newer narrative forms that could be episodic and yet linear, or intriguingly cyclic. Like Mank, my favourite film of the year.
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Esta historia es de la edición April 2021 de Man's World.
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