Retrieving the correct IP address for a Caddy-WordPress stack

I use All In One WP Security to secure my WordPress instance. It’s open source and offers a lot of customization. Though I have entertained the thought of running a static website using WP2Static, I very much dig the existence of comments and searching. Though there have been attempts to merge the aforementioned setup while…

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List (2011), dir. Hong Sang-soo

The typical nature of a Hong zoom is provocative, with each inspection resulting in a separate personal narrative. In the following shots, a distrust of relatives drives our characters, if not into another country, at least into another place temporarily until the scandalous uncle has turned himself in; hinting slightly at a case similar to…

Mind Game (2004), dir. Masaaki Yuasa

Minuscule, misleading assumptions tease our confused capacity amidst self-doubt, we adopt habits but change very little, only for a point of saturation to illusion a state of betterment. In all truth, it is the same world, yesterday and today, all that has materialized itself is a suspension of disappearing energy. Dreams melt to disappointment and…

Following (1998), dir. Christopher Nolan

Writer-Director Christopher Nolan’s works have ranged from adolescent hormonal epidemics to pure sensory experiences of three-dimensional explanations, but what we have here is a neo-noir experiment that heightens reality in short but effective Danny Boyle-esque adrenaline thrills while delivering stunning results in its tinkering with the medium. The often pondering Bill and his transitions of…

Right Now, Wrong Then (2015), dir Hong Sang-Soo

Windows open, angel outside. Should I be careful or should I be honest? Pretense first, candour later. The first time Hong uses reflections for inquisition wherein the wrong segment, Ham is the only one who looks in the mirror; a stance as of reminiscing how far-flung has his self-deception grown, a manufactured stew of despondency.…

Ae Dil Hai Mushkil (2016), dir. Karan Johar

Flowers are overrated. Happiness is over-sought. A removed line from Johar’s screenplay reads “[1]Khushi ka kya hai? Gham ke aas paas hi to bhatakti hai.” Alizeh’s gift to Ayan is a literal bed of thorns, capsizing any tincture of lust or leading attraction in their vessel of hugs, but Ayan, although subconsciously aware of the…