Flame, Glass and Ink are Poems, essays, and reading notes by Stefania Joori Suh

Category: Film Review

  • On Watching “Adolescence” (2025) – Netflix Season 1

    This Netflix drama series does not focus on an activist narrative that many might passionately debate from various political or social perspectives. Instead, it explores how something unimaginably tragic can affect anyone or any family, regardless of their socioeconomic status, race, or cultural background. Committing a crime is not solely the domain of a degenerate or disturbed mind; rather, it can be seen as a sickness influenced by a combination of social factors and the inherent predispositions of individuals. And yes, this reality includes all of us.

    Here is an adolescent boy from a hardworking family whose father may have a temper but is kind and understanding and has a strong responsibility for his family. Hardly a likely candidate for the head of the dysfunctional family contributed to producing a psychopathic killer. Having a temper doesn’t mean you are automatically attuned to criminal minds. To that effect, the father of the boy is neither a saint nor a sinner, and his son’s problem is not of family but of peers; it’s from peer pressure under heavy intoxication with social media where your worth is valued by lookism and agism vying for popularity as key to success. A loser is an Incel whose insecurity is forced by the number of likes destined for a public whipping boy or walking sandbag. Yeah, it’s easy to label anyone who is not within a safe zone of being accepted, and you become a new outcast. If you are a woman outcast, then you are a new witch to be persecuted. 

    The problem with the boy here is his consequence and punishment, but that should not be relegated to the family. To ostracize the family of the sinner is a time-honored practice that never changes, just as there’s no new thing under the sun. While the drama shows the brutally realistic portrayal of the crime, the doer, and the family without overt display of emotions or elaborated scripts, it does not give the boy light of redemption in the person of the psychologist interviewing the boy. I cannot help but think that she’s there to get what she wants, which is to extort confession that he did kill the girl, and that is why he did it, not trying to help him cure the mind disease. She does not seem to be happy with herself either. 

    It was mind-disturbing and painful to see how the police handled the boy and the preponderance of shock that his family encountered on what might have been one of those ordinary mornings. Seeing his father criticizing himself for not being perfect broke my heart. Yet, no one is perfect; he is a good father with a strong sense of responsibility for his family and a good heart. That’s good enough. You see, bad things can happen to good people. Dad, please don’t blame yourself. You are a good father: good night and sweet dreams. 

  • Laboratory Conditions (2017) – short film

    Some believe in ghosts, a few see spirits, and many deny souls. How odd that this digital age is when it is, in fact, a kind of spectral age in which Alexa with no face exists without being seen!

    Laboratory Conditions is an engaging cinematic short story about a doctor who puts heart before reason. She also has a brilliant mind, but it’s not corrupted but cherished in her faith in the human spirit. It is an odd combination of sentiment and reason seen in someone like her, or so she may seem. Or is she so? Humans are dualistic and ambivalent anyway, so I can’t say she’s all good, but at least she is sensible and sympathetic.

    Her opposite is the head of medical searchers of the hospital by which she is employed, and she is the only Reason with a face despaired of humanity. She measures human worth by status and thinks those found on the low rungs of the social ladders are unworthy of decent treatment. A modern-day eugenist is on a par with a god deciding who will live or not. She is amoral and negates the existence of human souls, or is she deluded to believe so? Anyway, she doesn’t care about it, an iota. Or has she sold her soul to the devil?

    The film is about 17 minutes long and can be watched on YouTube. It also stars a surprisingly famous cast, such as Marissa Tomei and Minnie Driver, who are excellently cast to play the fitting roles. I have read the comments, an electric mix of kudos to the doctor’s humanity and criticism of her cruelty. But they are all missing the real evil wrapped in a human’s guise among the faces.

  • On Netflix’s “Making a Murderer”

    Brandan Dassey – “The place again. Where none. Try again. Fail again. Better again. Or better worse” – Samuel Beckett

    Maybe I should not have watched it, but alas, I did, and with the afterimages of the faces and scenes still haunting the brain chambers, refusing to leave, I am writing about the Netflix documentary to cast them out to the wilderness of forgetfulness – but with a voice of the heart.

    The documentary revolves around the death of Teresa Halbach in Manitowoc, Wisconsin, who the county and the state justice believe was murdered by Steven Avery and Brandan Dassey. Since the stories about the accused are readily available online, I will not delve into whether they are innocent or guilty in this post. But I cannot help thinking this: Prejudice by social class prevails over the carriage of justice and the great cultural divide between rural and urban, working and middle classes, and state and federal governments in the States. America is arguably a country of no aristocrats, yet class distinctions are apparent, and stratification is broad. 

    In the case of Steven Avery and Brandan Dassey, although they were not poor, their parents were deemed fit to caricature characters of laborers equivalent to medieval serfs or pre-industrial European peasants speaking with the class jargon in heavy dialectical accents. Would the police and courts act differently toward the accused and their families were it not for their family backgrounds and social statuses? Hollywood celebrities and those with money and power can do anything and yet get away with their wrongdoings because they have the status and best lawyers who can make innocence of murderers, and vice versa. 

    That is why I’m not too fond of police profiling, which always seems to accuse those from unhappy childhoods tainted with physical and verbal abuse, especially and mostly from parents. It’s not only about sexual violence but, most of all, about parental verbal and physical abuses that bludgeon their children’s psychs. You can’t just typecast someone because they fit your profiling for a particular crime type. Where is the goddess of justice? Remember, even the goddess of fortune plays the Wheel of Fortune blindfolded to give everyone a fair chance of a lot because she can’t see who is rich, bright, or beautiful to look at. 

  • Weekely Movies Digest

    Ad Astra (2019) and The MArtian (2015) from L to R

    I know a thing about loneliness: willing and unwilling. It is lovely when it is mixed with white noise, like the sounds of raindrops or bells tolling afar. But too long quiet becoming dead silence unwanted is dreadful and miserable, as if I were forcibly cut off from the rest of humanity. That’s what happened to the spacemen on Neptune in Ad Astra (2019 film) or Mars in The Martian (2015 film) in their fated space odysseys.

    Fall from heaven and the man in search of life

    Ad Astra shows Major Roy McBride (played by Brad Pitt) is a cinematic version of Classical Greek drama. Roy is a hero because he has conquered his fear of not being true to his sensitive nature. It is also an epic tale of man’s voyage to the end of the world in the sense that he reaches his ideation of dream in truth. One of the most memorable scenes is when Roy falls from the ladders of the International Space Station’s spacecraft to the Earth, a spectacular rendering of the Fall of Man from high to low. Still, it also means an escape from darkness to light, which the Blue Marble symbolizes.

    Left Alone On Mars

    If Ad Astra is sentimental, the Martian is jovial in approaching a man in solitude. Mark Watney (played by Matt Damon) is a resourceful botanist who makes the possible out of the impossible. His brilliant mind, blended with his adorable wit tipped in cheerful disposition, propels him to survive on Mars and never surrender to hopelessness. Watching Mark growing potatoes on Mars and telling jokes to the camera to cheer him up reminds me of Horace Walpole’s following quote: “This world is a comedy to those that think, a tragedy to those that feel.” Charlie Chaplin adapted thus: “Life is a tragedy when seen in close-up, but a comedy in long-shot.”

    Miss Universe

    Man in space seems romanticly adventurous and mysteriously atmospheric. Still, it is a metaphor for being alone, the existential distress with no sense of direction in life with no one to speak to but the sound of silence that echoes loneliness aloud. Yet, those moments of darkness will pass if you let them go away with the will to live. Indeed, Matt Watney is brilliant in figuring out how to live in such an adverse environment, but he would perish soon without his will to live. So is Ron, who could have been lost in space had he given up to disappointment. They are Nietzschean superheroes who have whys to live and thus huddle through any hows. Also, nothing is more beautiful than Earth, sparkling like a gorgeous blue marble. Therefore, there is no point in war, conflict, or any unrest among ourselves because we are all family in Humankind in the universe.

  • Movies Digest

    Some indulge in drinking, some gaming, but mine is binge-watching supernatural/suspense movies when I am under dark spells. Hence this past weekend, I wallowed in the below visceral world of make-believe with my cats as guardians perched next to me on both sides like Odin’s two crows, Memory and Thought.

    Vivarium (2019): This is one of the most surreal movies I have seen. Some classify this movie as Si-fi, but it is Horror because it has no hope of escaping from the cycle of repetition with no end to the movie’s end. The young couple’s hopes of finding a new home could be this sinful. I am only asking because the movie’s central theme stems from the globally realistic issue of housing problems in the context of planning and paying. And the question of conformity dominates throughout the movie. Readers familiar with the YouTube sensation of the Backroom series will find a kind of deja vu phenomenon while watching this, but this is scarier because it happens to good people.

    The New Daughter (2009): Kevin Costner plays an affectionate father who wants to bring up his two young children to the best he can as a newly divorced father. It’s refreshing to watch such a movie that portrays a loving single father caring for his children when most movies show only single mothers struggling – of course, loving, with their circumstances. Although the film does not feature my favorite ghostly characters who are purely spiritual, it can be forgiven for the sinister consequences that show no mercy to good people.

    Half Light (2008) – Demi Moore is a novelist in this movie who can’t get over the death of her beloved young son. She blames herself for him to drown to death while she is writing her new novel. The guilt-ridden mother retreats to a coastal village in Scotland, where she experiences supernatural phenomena so tangibly that it all seems too visceral to accept because of the preponderance of the awe. The lighthouse on a deserted island within such a small coastal village serves as a beacon of her spiritual guide, or could it be an alarm for the impending danger? But one thing is confident that the living must let go of the dead because once the soul leaves the body, then the soul belongs to no one, not even in the streams of love’s salty fires. If you really love them, set the departed free.

    Stephen King, whose name befits the sobriquet of King of Horror, once said that fiction is the mirror image of reality, sort of an alter ego of the real world. Horror reflects fear that hopes are only a vanity of imagination or, as Thucydides says, a dangerous daydreaming made of bodacious hubris. What if what we think of or see as real is not real but only the likeness of truth? That is Horror, which is all reflected in these movies.

  • “Drag Me to Hell” (2009 Film) – movie review

    Image credit: Google

    At first, I didn’t like the movie poster, which was too screaming of “HORROR” aimed at the teenage audience. So, I avoided watching it for over a decade since its release in 2009. But for some reason, unbeknownst to me, the movie advertisement kept popping up on Amazon Prime and NetFlix until I clicked on it last week out of curiosity blended with 90% boredom and 10% of my brother’s words to try it. I know I was destined to watch it now that I have watched it.


    The movie’s protagonist is Christine, a relatable character, a young woman from a country to Los Angeles, the City of Angels, who wants to build her own life as a successful career woman so that nobody will look down upon her. She is more naive than innocent, with a good heart, if not golden. Nevertheless, she cares about people’s feelings and does not have the iron will to harbor her vengeance against those who insulted her. But sometimes, it’s those little people who get the biggest shoutout. She meets her Waterloo and literally crosses the Rubicon to face the demon. Still, the question echoes: did she deserve the curse? Why is it always that the ones who are good ninety-nine times get picked on and punished without mercy for a one-time fault? What makes them scapegoats for an offense in the eye of the beholder?


    The movie’s director is heartless and sarcastic about human nature in the face of reality by being merciless to the protagonist as if he were trying to play God, who he appears to think is remote and unsympathetic to the plight of his children. Otherwise, why does he let things happen to her and do nothing to protect her from evil? Christine might be nervously anxious to prove herself worthy of better opportunities as a single woman away from her not-so-pleasant past, but that cannot be the cause of sinister consequences. She could have loved herself the way she was, and all would have been well. Indeed, we should be kind and attentive to those in need. Still, the politicians and the celebrities with money are evasive of punishments for their wrongdoings because they know they can get away with anything, even from the curse. And I do not pity the spiteful Gypsy woman who drags the meek, not the powerful, to hell.

    Christine deserves no place in hell.