OSTrich Mondays #3
Today’s Monday is Blue Monday and it’s supposed to be the most depressive day of the year. Why don’t we add some cinematic vibe to it and commemorate ideally this ominous celebration? Asian films always beheld their own sense of threnody once the scenario was craving for it in the most representative dramatic tone.
Are you ready for some urban decadence and sonorous blight in the shade of art?
(I posted this on Monday, but something went wrong with posting magic and it got vanished. So here it is anew since i managed to revive it, so don’t misunderstand my odd timing.)
They are two of Asian cinema’s most beauteous gems, sparkling through the ashes and the fumes as the train signals its departure. I’m referring to the sound of eloquent decay and the pieces lying on the floor through 2046 and In the Mood for Love. A reason why i love instrumental music is because you can embed in the midst of sounds oceans of lines, making the tune your own, forever.
The pompous sound of breaking apart…
..and the delicacy of a wound.
“She knelt on the floor by my pillow, eyes fixed on mine. I stared back at her, but her eyes told me nothing. Strangely transparent, they seemed like windows to a world beyond, but however long I peered into their depths, there was nothing I could see. Our faces were no more than ten inches apart, but she was light-years away from me.” (Norwegian Wood – Haruki Murakami)
Concluding, something more devout that leaves a bittersweet taste through its overwhelming yet fragile crescendo. (Sympathy for Lady Vengeance)
“Be white, live white; like this.”