<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Pi - vo.rs</title><link>https://vo.rs/tags/pi/</link><description>Latest from the Pi desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Wed, 28 May 2025 09:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/pi/" rel="self" type="application/rss+xml"/><item><title>Pi: Aronofsky's Migraine in Black and White</title><link>https://vo.rs/screen/pi-aronofskys-migraine-in-black-and-white/</link><description>&lt;p&gt;&lt;em&gt;Pi&lt;/em&gt; (1998) is what a headache would look like if it could hold a camera. Darren Aronofsky&amp;rsquo;s debut feature was made for around sixty thousand dollars, shot on high-contrast black-and-white reversal film that renders skin as chalk and shadows as pits of ink, and it is engineered from its first frame to make you feel as unwell as its hero. The film opens on a mathematician pressing his hand to his skull, and by the time it ends it has given the audience a contact migraine, a paranoid stock-market thriller, a Kabbalistic conspiracy, and one of the most infamous acts of self-surgery in American independent cinema. It won Aronofsky the Directing Award at Sundance and announced a filmmaker who understood that style could be a delivery system for physical sensation.&lt;/p&gt;</description><pubDate>Wed, 28 May 2025 09:00:00 +0000</pubDate></item></channel></rss>