Under the lens of cultural and historical context, as well as understanding the reflective nature of popular culture, it's hard not to read this film as a cautionary tale about the limitations of isolationism.
Much like the kaleidoscopic design of The Master’s theatrical poster, the way one perceives the film -- indeed, all films -- is reflective of the prism through which one views the artform itself.
Sitar, tablas, dohl drums, scorching Indian vocals, funk, disco, surf and psychedelia. Just your everyday Indian film soundtrack, recreated by Aussie collective!
“We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'” —Andy Warhol
Reading this is less like attending an academic conference and more like stumbling into a science-fiction message board populated by freshman philosophy major wannabes with one semester and 50 pages of Nietzsche under their belts.
Quentin Tarantino is reliving his childhood cinema experiences, reinterpreting fractured moments of memory. Going to the movies is about an escape from our world, a mirror world at once familiar yet different.
