{"version":"1.0","provider_name":"Journal of Indian Cinema","provider_url":"https:\/\/filmcriticscircle.com\/journal","title":"Andhadhun \u2014 Suspense & Character Subjectivity","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"0mIEXOouGT\"><a href=\"https:\/\/filmcriticscircle.com\/journal\/film-reviews\/andhadhun\/\">Andhadhun: Suspense and Character Subjectivity<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/filmcriticscircle.com\/journal\/film-reviews\/andhadhun\/embed\/#?secret=0mIEXOouGT\" width=\"600\" height=\"338\" title=\"&#8220;Andhadhun: Suspense and Character Subjectivity&#8221; &#8212; Journal of Indian Cinema\" data-secret=\"0mIEXOouGT\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/filmcriticscircle.com\/journal\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2019\/01\/Andhadhun.jpg","thumbnail_width":1100,"thumbnail_height":600,"description":"Why Indian films are omniscient in perspective is not easy to explain but my view is that it lies in the notion of transcendental truths in which people have more faith than in the evidence of the senses, judged to be ephemeral; this is perhaps why most films have eternal messages to relate, usually from the epics or traditional wisdom."}