Companion (2025) | Movie Review

Hello cinephiles,

Today I’m going to review a very recent film that falls into the category of previous sci-fi movies and shows like Altered Carbon, I, Robot, Ex Machina, and Her, wherein the relationship between humans and robots/AI is depicted in a rather complicated manner—a central concern in this movie as well. However, the film Companion (2025), directed by Drew Hancock, delves deeper into the intricacies of human-robot relationships, along with several other ethical concerns related to AI identity crises, all intertwined with a twist of human greed. The film is not just a typical love story or a tale of robots taking over the human race. The unsettling events and murders that take place are all driven by human impetus and greed.

At the opening, we find a couple—Iris and Josh (played by Sophie Thatcher and Jack Quaid)—going on vacation to meet Josh's friends at a remotely located lake house. However, this whole vacation is pre-planned by Josh to murder his Russian friend and usurp his wealth. And for this dirty work, Josh uses his robot girlfriend to carry out the deed. He alters some of Iris's programming and makes her more aggressive toward human beings. Iris does not know that she will murder someone—yet she does it.

The whole movie serves as a counter-narrative to the idea of transhumanism, which believes that the human condition can be improved through scientific and technological advancement. However, the film critiques this notion by presenting a cautionary tale about how such advancements, when driven by human selfishness and moral corruption, can lead to exploitation and violence. In the film, both Iris and Patrick are “companions” to Josh and Eli. They are rented robots—essentially sexbots. They don’t even know that they are robots; they are used purely for fun and sexual gratification, subservient to humans. Rather than showcasing technological progress as a path to human betterment, the film presents the dangers of misusing robotic technology and AI for personal gain.

The film also touches upon the question of robots/AI having consciousness of their own—a trope traditionally explored in many sci-fi films, starting with The Matrix trilogy. But this movie attempts to justify this robo-consciousness through love and memory that the robots feel for their partners. Of course, they are programmed to feel a certain way, but there are a couple of moments in the film that go beyond the mere programming of their creators.

It also tries to answer questions about the future of human/AI relationships and robots having free will. As mentioned, the robots (Iris and Patrick) are controlled by their owner/partners through mobile devices, where they can change their voice, eye color, aggression levels toward humans, and most importantly, their intelligence. In order to assassinate his friend, Josh made Iris more aggressive, he used and manipulated her to commit murder. What follows is a series of murders, all triggered by Josh’s commands.

In my opinion, placing human greed and the motive of robbery at the center of the movie makes the plot more interesting and justifiable—because nothing would have happened if not for Josh’s greed. The climax of the movie is also optimistic, suggesting that maybe robots in the near future will live among us with their own free will.

If you're interested in a sci-fi robotic thriller with tender moments of joy and love—and with many questions to ponder—then this is the movie for you.

Here's the trailer, 

Thank you.

Fathers and Sons by Ivan Turgenev | Book Review

Hello readers,

I recently completed reading the novel Fathers and Sons by the Russian novelist Ivan Turgenev. The book explores the ideological clash between the old and new generations. This conflict unfolds between the titular fathers and their sons. The older generation, still clinging to traditional customs and values, struggles to keep pace with the younger, more progressive minds. I believe Turgenev aimed to inspire—or perhaps provoke—the younger generation to engage with the political and social changes taking place in Russia, and to move beyond the narrow liberalism represented in the novel by Paul Petrovich.

The novel is written in the third-person omniscient point of view and primarily revolves around two young Russian men: Arkady and Bazarov. Both have recently graduated and are returning home after a long time. Arkady’s father, Nikolai Petrovich—a wealthy landowner—is eager to welcome his beloved son. Alongside Arkady is his friend Bazarov, who joins them at the Marino estate. Not only are Arkady and Bazarov close friends, but Arkady also considers Bazarov his mentor.

Turgenev crafts Bazarov’s character with such depth that, over the course of the novel, I found myself simultaneously admiring and disliking him. Most of the time, however, I was fascinated by his views. Bazarov is described as a young nihilist who rejects traditional moral codes and ways of life. Because of his radical beliefs, he is often seen as the first Bolshevik character in Russian literature. He is well-read erudite, and the son of a veteran army doctor. Bazarov likes to indulge in argument and enjoys discussing a wide range of subjects, from politics and society to love and natural science.

At the Marino estate, Bazarov frequently engages in heated debates with Arkady’s uncle, Paul Petrovich, whom he regards as a petty aristocrat and a shallow liberal. Meanwhile, Arkady, inspired by Bazarov’s nihilism, finds himself unable to relate to his father and uncle. This newfound philosophy leads Arkady toward a modernist worldview. While Bazarov spends much of his time wandering in isolation and conducting scientific experiments, Arkady helps his father manage the estate, which is in poor condition.

Eventually, the young men grow weary of life at Marino and travel to a nearby province, where they meet Madame Odintsova and her sister Katia. They decide to spend a few days at the Nikolskoe estate. This marks a turning point in the novel as both Arkady and Bazarov begin to experience romantic feelings. Initially, both of them are not willing to admit their emotions. Here, Bazarov’s indifferent, nihilistic, and even misogynistic attitude is revealed, as he refuses to confess his love and instead returns to his parents' home. Although he is warmly welcomed, he remains emotionally distant from his parents.

I view Bazarov as a true representation of what Nietzsche would later describe as the Ubermensch—a person who rejects conventional morality and imposed authority. He lives by his own instincts, values, and principles. He doesn’t follow anyone else’s path, views or philosophy but instead asserts his radical ideas fearlessly. He even criticizes Arkady for being a romantic idealist and for using “beautiful language.”

“Whereas he [Bazarov] was a wild bird, you [Katia] and I [Arkady] are tame ones.”

This remark by Arkady clearly captures the essence of Bazarov’s character and attitude.

As the story progresses, Bazarov and Arkady travel from Marino to Nikolskoe, and eventually to Bazarov’s home. Back at Marino, a dramatic duel (aristocracy vs nihilism, traditional vs modern) occurs between Bazarov and Paul. At last, Bazarov returns to assist his father in treating peasants and serfs. Unfortunately, he caught a deadly infection. H knew that he has little time left, so he asked his father to inform Madame Odintsova of his condition. She visits him, but Bazarov dies the next morning—still without ever confessing his love.

To satisfy the reader’s curiosity, Turgenev adds one final chapter describing the present-day lives of the surviving characters.

Thank you for visiting.

Jaggi (2021) | Movie Review

Jaggi is a raw movie of Indian cinema. The subject of this movie is equally raw and sensitive, addressing the question of male impotency and the humiliation and suffering that follows, especially in rural India. The depiction of scenery and the originality of rural Punjab are masterful. The movie, directed by Anmol Sidhu, was released in 2021.

The story follows the life events of Jagdeep (Jaggi), who lives with his mother and father in a remote village of Punjab. He is a hardworking and obedient boy who balances school and farming work. His father is a drunkard cop who is impotent,  evidently due to his alcohol habit. Because of this impotency, Jaggi's mother has an affair with his uncle.

Ramnish Chaudhary's acting as Jaggi is praise worthy for he is able to convey the emotional trauma of the character very effectively.

The very first scene is bold and surprising, opening with Jaggi masturbating, and the rest of the film seems to explore the context of this scene. The story then moves back in time almost six years, when Jaggi is still studying in a boys' school. In the boys school, sex is a common topic of discussion among students, as it is with Jaggi and his friends. The way the director and dialogue writer captured the originality, nuance, and profundity of this niche subject of boys' talk is commendable. Students in the school frequently talked about sex and masturbation. During a conversation with one of his friends, Jaggi revealed that he is not able to get hard and masturbate, and gradually rumors spread that Jaggi is gay.

He is devastated after realizing that he cannot get an erection and tries to masturbate almost every day to gain respect and to prove his masculinity among his friends, but all his efforts are in vain. Jaggi soon becomes an object of jest, mockery, and humiliation. His classmates start to abuse him both mentally and physically. He is also raped constantly by his senior classmates and subsequently drops out of school in the 9th grade, starting to live a solitary life at his farm where he constantly tries to arouse himself.

This movie lays bare the hypermasculine aspect of males, wherein those males are respected who are sexually and physically superior to others. This superiority is often calculated based on penis size or the frequency of masturbation. In this respect, Jaggi is considered inferior. All the students targeted Jaggi, who simply had the medical condition of erectile dysfunction, and told him that he is a gay to satisfy their sexual hungers.

The film also raises the question of the lack of sex education in rural India, where many myths about sex are held to be true, causing suffering due to this lack of information. Making a movie on this subject is very important and relevant. Besides this, OMG 2 is one such movie that had a similar theme, aiming to raise awareness about the same issue.

The background story involves the societal aspect of impotency. Still, in the largely patriarchal society of India, being impotent, especially if you are male, is often seen as a failing. Because of this, Jaggi's mother had an affair with his uncle under his father's nose. All of this happened in the past, and now we come to the present day, just before Jaggi and Ramana's wedding day. However, he cannot reconcile with the fact that he might bring only trauma and bitterness to his married life, just like his parents. So, at the climax, he takes a very frustrating action of killing. But whom that is, I want you to find out yourself.

Jaggi is unsettling, violent, and unflinching in its portrayal of sex, abuse, and the psychological impact of societal norms. All these things add another layer of authenticity of the subject of this movie.

Here is the trailer,

Thank you.

Detachment (2011) | Movie Review

"And never have I felt so deeply at one and the same time so detached from myself and so present in the world.”

The movie I am going to review begins with this quote by Albert Camus—a line that sets the tone for the rest of the film. There is a sombre and depressing vibe coming from each frame, and yet, it is one of the most feel-good movies I have ever watched. It feels "feel-good" not in a conventional sense, but because we can relate to the protagonist’s situation and his existential dread.

Released in 2011 and directed by Tony Kaye, Detachment is another showcase of Adrien Brody’s remarkable acting prowess. The film follows Mr. Barthes (Brody), a temporary English teacher working at a high school. He has chosen to remain emotionally detached—yet is still kind-hearted—from those around him and from the circumstances he finds himself in. It becomes evident that something traumatic from his past has shaped his indifferent and nonchalance attitude. He leads a solitary life, often visiting his grandfather in a nursing home. His life is filled with sadness, seemingly without any significant purpose.

The narration and cinematography are more or less similar of Taxi Driver, and both protagonists share a profound internal dilemma and existential angst.

While the main narrative focuses on Mr. Barthes’ life, the plot develops through his interactions with three women: a fellow teacher, Sarah; a student, Meredith; and a young prostitute, Erica. Throughout the film, he navigates the complexities and harsh realities of life. Although he finds some solace in teaching, the students at his school are unruly and disrespectful—products of negligent and vacant parenting. The film serves as a satire on absentee parenthood and the consequences of raising children without discipline or empathy. Despite this, Mr. Barthes handles the situation cleverly at the school with his emotionally detached demeanor, eventually earning the students' respect. Meredith, one of the students, fascinated to the sadness within him, but this affection ends in tragedy at the end.

The film also highlights the struggles of teachers, particularly in private education sectors, where their role is reduced to maintaining order rather than truly educating. They are mere puppets, subject to the whims of  parents. It made me understand why some teachers often say that the classroom is the only place where they feel alive. For Mr. Barthes, teaching appears to be a coping mechanism—a way to survive in an indifferent and uncaring world.

Amidst all the existential grief and chaos, Mr. Barthes experiences moments of peace with Erica. Not in a physical sense, but through a shared emotional connection. He offers her a place to stay, and they share fleeting moments of happiness. Through conversations with Erica, we learn about his childhood trauma: an absent father and a mother who committed suicide. This context explains his grief and emotional detachment. By the end of the film, I believe Mr. Barthes begins to accept his fate, moving gradually toward nihilism when he decides to send Erica to a group home. Despite all of this, there remains a slight of hope—represented by the final hug between Barthes and Erica—that speaks to the human spirit’s resilience in the face of despair.

The movie concludes with a deeply affecting and emotionally hollow ending. The climax is quiet yet powerful, filled with meaning and emotional resolution. The final analogy between Poe’s The Fall of the House of Usher and Barthes’ deteriorating mental state is particularly compelling. If you decide to watch this movie, I highly recommend doing so at night, to fully grapple into its emotional depth and the characters’ pain.

Here is the trailer...

Thank you for your visit. 

Presentation Season 4 | Paper 210A

Research Project Writing: Dissertation Writing - Research Writing

Dissertation Topic: 

Welcome to the Desert of the Real: Hyperreality and Blurred Boundaries in Postmodern Hollywood

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Presentation Season 4 | Paper 209

 Research Methodology 

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Ghostwriting in Academia- Ethics, Legality, and the Invisible Scholars

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Video recording, 

Presentation Season 4 | Paper 208

Comparative Literature & Translation Studies

" Why Comparative Indian Literature ? by Sisir Kumar Das "

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- presented by Aakash Chavda and Akshay Nimbark 

Why Comparative Indian Literature (1).pptx from AakashChavda4

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Presentation Season 4 | Paper 207

Contemporary Literature in English

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Graveyard as a Secular Sanctuary in 'The Ministry of Utmost Happiness'

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Video recording of presentation, 

Presentation Season 4 | Paper 206

 The African Literature 

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Crowning Identity: African Hair and Cultural Politics

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Video recording of presentation, 

Presentation Season 3 | Paper 205A

 Cultural Studies 

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Hyperreality, Surveillance, and Fragmented Identity in "The Truman Show"

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Video Recording of presentation,

Presentation Season 3 | Paper 204

Contemporary Western Theories and Film Studies

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Deconstructivist Architecture:  An Architectural Reflection of Derrida’s Deconstruction

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Video recording my presentation,

Presentation Season 3 | Paper 203

 The Postcolonial Studies 

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Revolution and Class Struggle" Marxism in ‘The Wretched of the Earth’

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Presentation Season 3 | Paper 202

Paper 202: Indian English Literature – Post-Independence

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"Female Identity and Sexuality in the Poetry of Kamala Das"

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Presentation Season 3 | Paper 201

Indian English Literature – Pre-Independence

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"Sri Aurobindo: The revolutionary visionary"

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