Quentin Tarantino "kill bill" എന്ന സിനിമയിലെ അനിമേഷൻ sequence inspired ആയത് "Aalavandhan" എന്ന കമൽ ഹാസൻ സിനിമയിൽ നിന്നുമാണ്....
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@cinema30sec

@ikamalhaasan @tarantinoxx @puthrenalphonse @actorvijaysethupathi @shabare_esh @cinebae_ @cinemeau @cine_mallu
@movie.theater_ @cinema.thinks @mathukuttyxavier @kallumakkaaya
#tamilcinema #kollywood #hollywood
#killbill #aalavandhan #kamalhassan #explorepage #tamilnadu
#vijaysethupathi #mammootty #mohanlal
#jaibhim #reels #indiancinema

For the longest time, the superhero genre has been monopolised by Western ideas of superhuman beings. And I grew up with them. I grew up reading superhero comics and never once noticed the cultural nuances of it, until I took up a course on it at Uni. Identitying the staggering American nature of those stories is crucial to our understanding of the evolution of the genre. And if we are to find a more specific, Indian language to it, the genre would have to reinvented. I finally feel like that reinvention has started, and I couldn't be happier.

- Ahona ( @buanosnoches )

Sushin Shyam, and background score.

Lilli by @prasobhvijayan and Lord Livingston 7000 Kandi by @anilradhakrishnanmenon should also be mentioned among others.

Sanjay Leela Bhansali is known for his elaborate production design, ambient lighting, and particular use of color that reflect the character's personalities and the situations they are in. In the film Padmaavat, he brilliantly sets the context of different scenes with different color tones to make us feel the gravitas of each situation.

For eg., He distinguishes between the protagonist and the antagonist through warmer and darker tones and then balances it when we see them together on the screen. This clear distinction helps the audience to associate a certain feeling with the characters and experience the film more immersively.

Tell us which other film’s color palette you admired the most in the comments below!

#IFP #IndiaFilmProject
#sanjayleelabhansali #colorpalette #padmavat

🎬
Hayao Miyazaki’s #PrincessMononoke, 1997.