At the time of writing this, I've only seen three of Mani Kaul's films and yet I have not a shred of doubt in proclaiming he is an astonishing and essential filmmaker who must be sought out by anyone with an interest in the cinematic medium. With Nazar, Kaul's concocts a minimalist masterpiece of marital ennui, the epistemological nature of the observational eye attempting to unearth and understand the metaphysics of emotion. Opaque and challenging in its unwillingness to provide a defined narrative framework, Nazar relies on a cinematic grammar that is deeply lyrical and extremely rewarding for those willing to embrace more unconventional aspects of storytelling. Memory and reality blur, the confined spaces which husband and wife inhabit offer the film's structural framework while a sensitive yet penetrating lens invokes the underlying despondency and stagnation of a marriage through its excavation of the familiar. Reminiscent of Antonioni in some respects, Mani Kaul's Nazar's remains a singular work, a film in which you experience more than comprehend in the moment, though it reverberates in one's consciousness long after the credits roll
Love of all things cinema brought me here.