The Master ★★★★

Characters are either transformed, reshaped or challenged until their last boundaries in every project by P.T.A. The Master deliberately places the events in an era of developing technological and psychiatric progress, where differing branches of skepticism started to appear more prominently. The question of seeking control of external circumstances has never eluded the human condition, so its disturbing nature remains as relevant as it is today.

With stunning performances by an unmatched cast, including the now modern legend Philip Seymour Hoffman at the top of his game before leaving this earth too soon, The Master is a feature that explores the themes of community, ownership and the illusion of control that so many individuals strive to obtain, which is an impossibility inherent to our existence. This illusion can escalate to delusions, and most of the elements in life are meant to backfire when circumstances much bigger than our perceptions shatter them and bring the whole psychological edifice down.

Well shot and with an intoxicating atmosphere of passive menace, bizarre characters and hidden tragedies untold behind every face we see, The Master is a rather misunderstood bucket of fresh air that speaks directly to the intellect, challenging some ideas we have about the two extremes in finding meaning in our own life: either you serve a master, or you are your own master. P.T.A. also provides some brief, but very evident hints about how Lancaster Dodd himself gets challenged when his inconstant use of grammar and his quite obvious inventions were just mechanisms to create an illusory system of control. After all, it is the energy and submission of blindfolded masses the ones that provide the fuel for the subsistance of any kind of authoritative regime or totalitarian government, including the charismatic type. All in all, an intelligent modern U.S. delivery.


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