Anand Sudha
@anandsudha.bsky.social
PhD in Applied Physics and the occasional film critic. Words in InReview, Animus Mag, Ultra Dogme etc. https://thecritischism.wordpress.com/
Capsules on Misericordia, Mizoguchi's entrancing Princess Yang-Kwei Fei, Elaine May's great Mikey and Nicky and Becker's Montparnasse 19 to finish the year.
Capsule Corner #4: Love and Death
thecritischism.wordpress.com/2025/12/25/c...
Capsule Corner #4: Love and Death
thecritischism.wordpress.com/2025/12/25/c...
Capsule Corner #4: Love and Death
(Spoilers?) Misericordia (Alain Guiraudie, 2024) (I wrote this capsule for InReview’s best of 2025 list.) Characters in Alain Guiraudie’s films express no inhibitions when following their flo…
thecritischism.wordpress.com
December 25, 2025 at 7:21 PM
Capsules on Misericordia, Mizoguchi's entrancing Princess Yang-Kwei Fei, Elaine May's great Mikey and Nicky and Becker's Montparnasse 19 to finish the year.
Capsule Corner #4: Love and Death
thecritischism.wordpress.com/2025/12/25/c...
Capsule Corner #4: Love and Death
thecritischism.wordpress.com/2025/12/25/c...
With all the lists going around, I have written about Reichardt's use of genre tropes to introduce tensions between her protagonist and the landscape in one of the year's best films.
thecritischism.wordpress.com/2025/12/14/t...
thecritischism.wordpress.com/2025/12/14/t...
Tropes and Tensions: The Mastermind
(Focusing on spoilers in this article can be likened to J.B’s apoliticism in the film. The revolution needs you to read the full article! Okay, I am half-joking, but spoilers ahead.) Kelly Re…
thecritischism.wordpress.com
December 21, 2025 at 6:35 PM
With all the lists going around, I have written about Reichardt's use of genre tropes to introduce tensions between her protagonist and the landscape in one of the year's best films.
thecritischism.wordpress.com/2025/12/14/t...
thecritischism.wordpress.com/2025/12/14/t...
Happy to work with @tothehappynone.bsky.social
on one of my favourite American films, one that interrogates our cherished beliefs about recorded realities through genre frameworks and tropes.
thehobbyhorse.substack.com/p/fuzzy-truths
on one of my favourite American films, one that interrogates our cherished beliefs about recorded realities through genre frameworks and tropes.
thehobbyhorse.substack.com/p/fuzzy-truths
Fuzzy Truths
On New Rose Hotel
thehobbyhorse.substack.com
November 17, 2025 at 7:58 PM
Happy to work with @tothehappynone.bsky.social
on one of my favourite American films, one that interrogates our cherished beliefs about recorded realities through genre frameworks and tropes.
thehobbyhorse.substack.com/p/fuzzy-truths
on one of my favourite American films, one that interrogates our cherished beliefs about recorded realities through genre frameworks and tropes.
thehobbyhorse.substack.com/p/fuzzy-truths
On Ordet, miracles in cinema, and Dreyer's interrogation of faith through its collision with "rationality".
thecritischism.wordpress.com/2025/10/14/o...
thecritischism.wordpress.com/2025/10/14/o...
October 15, 2025 at 10:57 PM
On Ordet, miracles in cinema, and Dreyer's interrogation of faith through its collision with "rationality".
thecritischism.wordpress.com/2025/10/14/o...
thecritischism.wordpress.com/2025/10/14/o...
Reposted by Anand Sudha
I loved working with @anandsudha.bsky.social on this piece, whose publication fittingly, but unintentionally coincides with Peter Sellers' centenary this month.
Anand Sudha (@anandsudha.bsky.social) considers his own experience – as film fan and Indian viewer – with Blake Edwards’ controversial, revered comedy THE PARTY (1968), engaging with his own hopes and expectations for the film's acerbic critique of Hollywood: animus-magazine.ghost.io/whos-invited...
Who's invited to The Party?
On The Party and the politics of who’s looking at problematic art
animus-magazine.ghost.io
September 15, 2025 at 7:52 PM
I loved working with @anandsudha.bsky.social on this piece, whose publication fittingly, but unintentionally coincides with Peter Sellers' centenary this month.
A long gestating article on engaging with problematic art, specifically, The Party, through my Indian lens that couldn't stop squirming at Peter Sellers in brownface. Happy to have this published at @animusmagazine.bsky.social and thanks to @elazic.bsky.social for her helpful suggestions!
Anand Sudha (@anandsudha.bsky.social) considers his own experience – as film fan and Indian viewer – with Blake Edwards’ controversial, revered comedy THE PARTY (1968), engaging with his own hopes and expectations for the film's acerbic critique of Hollywood: animus-magazine.ghost.io/whos-invited...
Who's invited to The Party?
On The Party and the politics of who’s looking at problematic art
animus-magazine.ghost.io
September 16, 2025 at 9:20 AM
A long gestating article on engaging with problematic art, specifically, The Party, through my Indian lens that couldn't stop squirming at Peter Sellers in brownface. Happy to have this published at @animusmagazine.bsky.social and thanks to @elazic.bsky.social for her helpful suggestions!
Reposted by Anand Sudha
TIFF uploaded a trailer today for a documentary about a former IDF general rescuing his family on October 7, even though it wasn't in their TIFF Docs press release and there isn't a film page on their site. They made the video private but the trailer can still be viewed here:
vimeo.com/1105546177
vimeo.com/1105546177
The Road Between Us: The Ultimate Rescue _ TRAILER
* Premiering at the 2025 Toronto International Film Festival * Dir.: Barry Avrich Melbar Entertainment Group www.melbarentertainment.com Please contact: Laila…
vimeo.com
August 6, 2025 at 9:25 PM
TIFF uploaded a trailer today for a documentary about a former IDF general rescuing his family on October 7, even though it wasn't in their TIFF Docs press release and there isn't a film page on their site. They made the video private but the trailer can still be viewed here:
vimeo.com/1105546177
vimeo.com/1105546177