2. While cinema had a lot of competition this year, most of the larger spectacle that gripped us all was more depressing than pleasurable. That said, the continued potency of old-fashioned live TV was demonstrated when a typically dreary Academy Awards ceremony descended into farce―a moment of catharsis to delight viewers across the planet, with Beatty, still in the performance-art mode of Rules Don't Apply, as the instrument if not the deliberate instigator. “To hell with dreams,” the crucial line from Barry Jenkins' subsequent acceptance speech for Moonlight, might be the greatest four words ever spoken at the Oscars.
|The Emoji Movie|
|Landscape from Lower Parel|
The camera pans and zooms over the surrounding terrain, including the streets and buildings I glimpsed on the drive over: miming trajectories described in the text (like the descent of a hot air balloon), singling out tiny figures on rooftops or in office windows, following birds across the sky. It's a simple but powerful way of highlighting the omnipresence of surveillance in the modern city: when an audience member raises concerns about privacy, Anand points out that each of us would have been filmed by multiple security cameras on our way into the theatre. It's also the realisation of a seemingly impossible cinephile dream: that of simultaneously remaining safe in the theatre and existing inside a movie that comes into being as you watch.
There is not much I can helpfully add, except that the entire Peaks saga―three seasons to date, plus the 1992 big-screen prequel Fire Walk With Me―demands to be viewed as a single, open-ended work. If you're coming to it fresh, your best bet is to start with the 1990 pilot and keep going right on through, ignoring whatever you may have heard about the supposed weaknesses of the second season. Pack provisions, bring a friend, and try to stay ready for anything. Be warned, though: once you enter these woods, you may not want to get out.