![]() ![]() Yet unlike the over-rated Eraserhead, I can squint and potentially see a way I could be convinced of its qualities. It seemed a garbled mess, and it probably is. ![]() All told, considering the tiny budget, small cast and zero sets – it largely unfolds in a series of corridors – I find myself thinking back more warmly on this than I felt as I was watching. We go along with Sara on her journey, and if the ending can hardly be said to tie up the loose ends, it does leverage one of the elements into a rather poignant finale. That said, there does appear at least to be an internal logic at work, even if it’s not apparent to the viewer. Personally, after being attacked by a naked man, whose anus oozes a mercury-like fluid, I’d… have questions. His first ever appearance was in Willy Russells play 'Blood Brothers', where he played the lead part, Mickey, and for which he received high acclaim. She doesn’t care about the WTFness of the entire scenario. Patrik Karlson started acting in 1991, at 23 years of age. To be fair, the only person who needs one is Sara, and she is simply focused, with laser-like intensity, on finding her daughter. At no point here, is anything even approaching an explanation provided. Inspired by, I might just about give you: this contains the same sense of lurking dread, and things hiding just beyond what we mere mortal humans can perceive. Lovecraft, but compared to either the Italian or Nicolas Cage movies of that name, the connection seems tenuous. This is supposedly based on The Color Out of Space by H.P. With the help of a friendly janitor, Sara ventures onto the forbidden second floor, in disobedience of her boss’s orders, in search of Jenny. To try and find her, Sara gets a job as a cleaner in the building under a very strict boss (Lampa), but it seen becomes clear something very odd is going on in the complex, with portals opening into other space, mysterious shadow people, a tendency for time to run differently, and at the centre of the facility, a glowing light which may (or may not) be sentient, divine or demonic. Sara Hansson (Sundén) is looking for her daughter, Jenny, last seen being brought by her husband to the building where he works. ![]() I’m likely no better informed – just confused in a way which, if not conventionally “enjoyable” or “entertaining,” was at least interesting. For while this is a film I will never watch again, I reached the end and did not begrudge the time spent. Yet, here we are, with a perfectly respectable rating. ![]() Five minutes into this b&w Swedish slice of obscureness, clearly very much in debt to it, I was bracing myself for the cinematic equivalent of having my fingernails yanked out. The top review for this on Letterboxd concludes, “If you do not like Lynch movies then avoid this one at all costs.” If I’d seen that before watching, I may not have bothered: having recently endured my way through Eraserhead, I was not exactly renewing my membership in the David Lynch Fan Club. We further confirmed that Barrier options exposure and CVA is highly sensitive to volatility dynamics and that American options’ risk dynamics are significantly affected by the uncertainty in the interest rates.Star: Lina Sundén, Martin Jirhamn, Jenny Lampa, Patrik Karlson For CCYS, some of the impact can be reduced by allowing for time-dependent variance. It is observed that the stochastic volatility has a significant impact on all the derivatives. We then present future exposure profiles and credit value adjustments (CVAs) for plain vanilla cross-currency swaps (CCYS), barrier and American options and compare the different results when Heston-Hull–White-Hull–White or Black–Scholes dynamics are assumed. The Heston model is extended by adding two Hull–White components which are calibrated to fit the EURUSD volatility surfaces. To achieve this we analyse two real-life cases in which the market conditions are different, namely during the 2008 credit crisis where risks are high and a period after the crisis in 2014, where volatility levels are low. In this research, we investigate the impact of stochastic volatility and interest rates on counterparty credit risk (CCR) for FX derivatives. ![]()
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