Asim Abbasi’s “Barzakh” review

In the latest OTT version of Asim Abbasi BarzakhThe first episode, the first of which first on Friday, Salman Shahid plays Jafar Khanzada well -nani – Khushhal Khan his young me who moves to the city to become a wealthy man. All ready to marry the ghost of her dead lover, Mahtab (Anika Zulfikar), Jafar marks the opportunity by invoking her two sons, Shehryar (Fawad Khan) and Saifullah (Fawad M Khan), while Sanam Saeed plays the enigmatic Scheherezade, its participant -Slash -Daughter.

Bathed in a hot and misty and orange palette, the atmospheric work of the director of photography Mo Azmi gives life to a perpetual melancholy. More than the caie, the union unnatural between man and the dead is a well -designed reminder of the delicate intimacy of ghost films.

With Azmi, Abbasi transforms the sumptuous frame of the Hunza valley, filled with rich and fiery foliage to fall into his most independent work to date. Even those who are difficult to impress can approve Cake And Whistle“Visual style, dotted with many famous recreation of shooting for moviegoers to spot. If the style of Abbasi in the last two offers was designed as a film lover himself, with Barzakh The filmmaker finally builds his own vocabulary.

Maybe that is why, even if the quiet city where Jafar has erected its resplendent tourist spot protests on its growing eccentricities, Barzakh feels far from being “unnatural”. In the previous stories of Abbasi, the poor and the care frequently forge non -natural unions with those in power. Whether it’s his first feature film in 2018, Cakewhich turns a light drama of the generous sacrifice of a Christian nurse for a feudal family. Or elite women of Whistle Who forget their protocols of high society and find sisters in their household.

Cinema of the rich?

For a man whose cinematic universe concentrates rich in close proximity to the poor, Abbasi is one of the few directors to reproduce the Pakistani Trope signature in the contemporary local scene. Admittedly, the rich characters of Abbasi do not engage in insipid platitudes, and the poor in his world do not carry the burden of moral rectitude. The disparity of the class, made all the more vulgar, is however a page drawn directly from the history of the screen of Pakistan.

The small screen has also promised to execute half of its narration between the Seth Sahab Ka Laka And Mazdoor Ki LarkiExchanging the roles at most daring. Many are there to deplore the conception of the production of television suffering, the sad monotony of the sets, only one fails. Often, it seems that the beloved industry has three rotating houses to mark the socio-economic particularities of a manager, a driver and a man of turnover who has become a businessman.

There are many ways to denigrate the depleted global construction of Pakistani television, but find the echoes of the previous blows is at the worst description. The class on the screen did not come without the luggage of moral qualifications. In 1971 TehzeebA rich compunible shahid, deplores with Laga Hai Husn Ka Bazaar As he looks at his wife, a rani of race, succumb to the pleasures of modernity. The writing is on the wall for those who are ready to see.

Five years later, Waheed Murad will put on a thick shawl in his mansion Zubaida And resume the role of the salon patriarch. Whoever serves both deviant women, Babra Shariff in this case, and Cinémague on the conduct of respectable families. A message that was considered with its gravity due.

Rich in theme and aesthetics

The world of Abbasi is rarely moralizing from the cinema of the 1970s and the 80s, but its representation of the class is still the main show. It is correct to say that the filmmaker “reproduces” these socio-economic anxieties, unlike television which took the “regurgitation” of the obsolete summit of the signaling of virtue.

Call that the death of media literacy in the hands of Digital Inrush, the cinema of escape has been dislodged by a relatability policy. Until my childhood, so that Karan Johar arrives from Rahul’s helicopter in the Palatial field of Raichand was both fantastic and taken for granted.

The greatness of K3g Now feels exaggerated. Times and feelings have changed. Bong Joon-Ho drama 2019 Parasite is one of the most popular lucid insertions in this commoner cinema. And don’t be mistaken. The commoner is now more fashionable than ever. Not that Abbasi seems to care. With just the first episode of Barzakh, The director turns his connection with the rich both promising and kosher.

It is not just a story on the excess of the upper class is by default a boring or unwanted subject. By Luis Buñuel The exterminating angel in Govind Nihalani PartyArthouse Cinema has produced many successful controversies against intellectual and economic elites. We see much less frequently than the spectacle of wealth characterizes a whole set of emerging work that does not encourage its subject.

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