But our narrator goes several steps further, installing Zafar in the top floor of his flat and holding a long series of conversations that constantly shift in tone and character, at times seeming like a therapeutic encounter, at others a confessional, a police interview, a lecture.
Writing in The Times, A. O. Scott called the film "a deeply personal piece of art that never descends into the confessional or the therapeutic, and a work of social and literary criticism that never lectures or hectors, but rather, with melancholy, tenderness and wit, manages to sing".
Writing in The New York Times, A. O. Scott called the film "a deeply personal piece of art that never descends into the confessional or the therapeutic, and a work of social and literary criticism that never lectures or hectors, but rather, with melancholy, tenderness and wit, manages to sing".
Instead, it is a deeply personal piece of art that never descends into the confessional or the therapeutic, and a work of social and literary criticism that never lectures or hectors, but rather, with melancholy, tenderness and wit, manages to sing.
And so he boldly freelances from one topic to another, an improvisatory method that results in a book of loosely gathered riffs and stories that range in style from soul-rending confessional to warm recollection to playful fiction to blistering polemic to tweedy, insufferable lecture.
My work is a confessional".
But they're not confessional".
