{"id":3305,"date":"2016-12-03T17:10:43","date_gmt":"2016-12-03T11:40:43","guid":{"rendered":"http:\/\/learningandcreativity.com\/silhouette\/?p=3305"},"modified":"2019-09-21T15:02:02","modified_gmt":"2019-09-21T09:32:02","slug":"eyes-in-films","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/eyes-in-films\/","title":{"rendered":"I’s Eyes: Exploring Use of Eyes in Films"},"content":{"rendered":"
\"The

A scene from Katarina Zrinka Matijevic\u2019s troubling claustrophobic film The Trampoline<\/p><\/div>\n

Seven year old Lina\u2019s menacingly black pupils (The Trampoline<\/em>, 2016, dir: Katarina ZrinkaMatijevic)\u00a0inherit pain and loss of a few generations of Croatian women.\u00a0 Be it the teenager Nika or the woman at the orphanage Nikolina \u2013 their future are same, already plotted on the timeline with similar results. While Lina looks disheveled and distraught Nika revolts against the society and her mother. The\u00a0 mothers are all single, cold, ruthlessly non-communicative and alarmingly alien. Nikolina hence doesn\u2019t want to go back to her mother; she doesn\u2019t want to become one. Yet her warm eyes probably restore some faith in human relations of forgetting and believing, in falling from grace and waking up to new challenges \u2013<\/p>\n

The smell of your guttered eyes<\/em>
\nhaunt me the way your love does,<\/em>
\nit is not the mind or the brain<\/em>
\nonly,<\/em>
\neven my genitals<\/em>
\nhave memories of you<\/em><\/p>\n

\"Maria

The mood of the three eyes in Maria Govan\u2019s Play the Devil<\/p><\/div>\n

Even the eyes in Maria Govan\u2019s Play the Devil <\/em>wander from piercing to uncertain and finally disillusionment and grief. The alpha male gaze of Greg\u2019s elder brother contrasts against the soft penumbral shadows of James, the rich and affluent businessman who gets into a homosexual relation with Greg. In the 18-year old student Greg, the director packs in a microcosm of Trinidad. Like its location Greg is financially poor but physically beautiful. Greg is as much na\u00efve as he is a dreamer who doesn\u2019t know how to fulfill the broken aspirations \u2013 in the process he gets exploited and is left with one single brutal, raw emotion to express and be free. In his confused, soulful, poignant eyes Greg actually transcends his geography and represents all the human beings of lesser places with bigger dreams who are continuously jilted and who more often than not stifle in the cul-de-sac of their own struggling existence-<\/p>\n

\"Kim

The commoner\u2019s delusion and disillusionment in Kim Ki Duk\u2019s Net and Kristina Grozeva-Petar Valchanov\u2019s Glory<\/p><\/div>\n

Layers of cloud<\/em>
\nhang in your room<\/em>
\nshield my eyes,<\/em>
\nyou wait –<\/em>
\nthe sand waits<\/em>
\nthe sea vanishes<\/em>
\nagain.<\/em><\/p>\n

The look of the commoner, when confronted by the society at large, is almost always that of disbelief, bewilderment and of pity. It is a struggle of power, of dominance and in surrendering. Kim Ki Duk\u2019s Net<\/em> and director duo Kristina Grozeva and Petar Valchanov\u2019s Bulgarian film Glory<\/em> follow the lone man. Their loneliness is granted by the state whose power of subjugation controls their lives and shatters their emotional quotient and confidence. When Tsanko stutters and stammers it is less physical and more symbolic of the condition of the common man when pitted against the heavy weight of the state. In their loneliness they confront the self more than the external being \u2013 a tussle which every human has to undergo at some point in his or her life.<\/p>\n

‘grief is never profound’ he mutters to me –<\/em>
\n’cause, history forgets the memories’<\/em>
\nI look at his face, there is darkness<\/em>
\nin his eyes – a misty tunnel endless,<\/em>
\nmarooned.<\/em><\/p>\n

A definitive scene from Xavier Dolan\u2019s deeply touching and sensitive It\u2019s only the end of the world<\/em><\/span><\/p>\n