kalash

kalash

Filmmaker, journalist and critic with bylines on: Cineuropa, FirstClasse, The Vibes, Malaysiakini, R.AGE + more. ✍🏽

@kalashndk

Favorite films

  • Christmas in July
  • Only Yesterday
  • It's a Wonderful Life
  • Nanpakal Nerathu Mayakkam

Recent activity

All
  • The Substance

  • Modern Times

    ★★★★★

  • Talentime

    ★★★★

  • Kinds of Kindness

Recent reviews

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  • Modern Times

    Modern Times

    ★★★★★

    Ulsan Ulju Mountain Film Festival: My first time seeing Chaplin on the big screen (how deprived my cinema experience has been).

    Every Chaplin film deserves the largest screen possible, but especially this one: that massive factory set piece, razor-sharp comic timing by Chaplin & Paulette Goddard, that absurd feeding machine scene—a true body horror moment. I’d forgotten just how funny and political it is.

    But the experience was dulled by the jazz-lofi live score by Sooyoung Chin Cinema Ensemble (honestly, they…

  • Talentime

    Talentime

    ★★★★

    “Watching a Yasmin Ahmad film in 2024, is not just a time capsule of what cinema looked like in decades past, when mid-tier budget family dramas were not an anomaly, and men in capes did not capitalise every screen, but also held the promises of what this imagined community or multicultural project that is Malaysia is capable of. 

    As a young Indian man, I still hold contradictory feelings watching a Yasmin Ahmad film. She started out as an outside figure,…

Popular reviews

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  • Deadpool & Wolverine

    Deadpool & Wolverine

    ½

    the fundamental flaw here: they are both the EXACT same character?? the lack of contrast makes it extremely bland. 

    its toxic sludge,, highly recommend skipping this

  • I Saw the TV Glow

    I Saw the TV Glow

    ★★★★★

    haunting, fixating. cinema expanded. 

    i’m welled up with emotions to grapple with what I just saw, but making this entry for the record that a major trans filmmaker premiered in malaysia to a full-house audience (i was seated the absolute front row, back slouched, neck tilted up, hooked to every frame the same way owen + maddy was) 

    that this passed through local censorship board (LPF) *unscathed, is historic, beyond mere representation politics, jane schoenbrun has expanded, or more accurately, mutate visual codes & tropes to ‘create’ a liberatory text of trans cinema. 

    *(5-7 seconds of projection was blocked during that redacted scene)