Wednesday, March 02, 2011

discreet charm of the bourgeoisie . naya nasha

random and fantastic: the perpetually unfinished dinner party of the bourgeoisie. every time they sit to eat ridiculous guests turn up. ritual and ceremony are displaced by other rituals and ceremonies. it is in the collision of these, and the completely unfazed nature of the goings on that the film that an exquisite corpse of a film is made. and then there are the recounted dreams by characters who walk in and out of the film and also by the participants of the dinner party. and while these performances around food repeat endlessly going nowhere, our group of suit and gown clad elites walk steadfastly down a road heading nowhere in particular.

if only they had met 'grandpa' in his cane and bamboo den behind the psychedelic smoke filled haze of the drug palace where nanda is tempted out of her boredom into the world of sin. but then this 'naya nasha' is not only the bane of the bourgeoisie as the title scroll right at the beginning tells us it is 'the seventies'. where the working class is bored because of unemployment and the bourgeoisie because of the rejection by their parents. students are rioting on the streets or escaping into fantasy. nanda chooses the latter as she walks over the tome called 'moral moral moral' that she dumps on the floor when our vamp takes her to 'grandpa'. it all comes down to the doctor/ husband to save her from herself. he stands by steadfast even when she gives birth to a deformed little boy and shelters a drug dealer in her garage. all this time nanda talks to inanimate objects, throws her hair about and laughs manically and is in a flash reduced to tears. and she bites her lip. over and over again. in close up and in several violent crash zooms.

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