07 December, 2009
While Rome and Venice, the teaser of the new film by Jordan River was surprised for 3D, music, sound and photography, in the land of Mahatma Gandhi is prepared instead to talk to great souls with the soul sound that pulses insideimage. Just as in the sacred texts of Hindu literature of the second century BC, in which the uniqueness of the text is that no indication is given of an abstract God, so in the movie the book is not sacred code of dead letter, but becomes hero - provided that it also becomes the reader's, a very ancient text, which speaks in first person and the third millennium, man provides the key to overcome, through love and its ultimate destruction.
The film is scheduled for the end of next year in theaters around the world, but the director wanted to implement in the preview, the viewing of some of the early scenes.
The screening of the teaser will be held in New Delhi (India) on Sunday December 13th at Indian International Centre at 4,40 p.m.
During the presentation there will be a diplomatic agent for the production account for business meetings and co-production of the film.
Special thanks: Italian Institute of Culture, Regione Lazio, Sviluppo Lazio, Indian International Centre
Official Website: www.sacrocodice.com
19 October, 2009
The Festival, one of the world’s leading showcases of contemporary Indian, Asian an Arab cinema, has changed it date from July to October from this year on. It will screen a hundred movies, both features and shorts, reflecting on cultures and ideas with a special focus on India. For the first time in 11 years, India will be the country of spotlight. Helmers such as Vishal Bharadwaj (“Kaminey”), Anurag Kashyap (“Dev D”) and R.K. Gupta (“Aamir”) are some whose works will be shown.
The week-long Festival will have three sections: In Competition, In Dialogue and New Stream. The first, second or third films of selected directors will compete for the top prizes. The entries in In Dialogue will crisscross across boundaries to establish cinematic resonances between and among the movies from India, Asia and Arabia. The New Stream category will dare to redefine mainstream works.
Some of the 12 competing entries are Iran’s “Before the Burial”, Indonesia’s “Blind Pig Who Wants to Fly”, South Korea’s “Daytime Drinking”, Japan’s “Deep in the Valley”, China’s “Er Dong”, Turkey’s “Knot”, Syria’s “The Long Night”, Iran’s “Over There”, Tunisia’s “Wailing Wall” and India’s “Man’s Woman and Other Stories” and “Khargosh”.
A 30-member jury, including photographer Raghu Rai, Hindi writer Asghar Wajahat and Odissi dancer Shivani Vazir Pasrich, will present the Osian’s Connoisseurs Jury Award to the Best Film and Best Director in the Competition section. In a radical departure from its earlier years, the Festival decided to have a large jury, rather than its usual five-member panel. The jury has been so composed to represent a cross section of professionals, like college teachers and artists apart from movie professionals. Experts in different disciplines, these men and women are nonetheless passionate about the medium, an essential qualification that probably got them a place on the jury.
22 May, 2009
National Film Development Corporation Ltd. (NFDC), will conduct Screenwriters' Lab 2009, a 2-part screenwriters' workshop for writing and selling original Indian screenplays, in association with
Binger Filmlab, the Locarno International Film Festival and the Entertainment Society of Goa.Screenwriter's Lab 2009, a 2-part workshop
is designed to prepare screenwriters' with original Indian stories for working with the international filmmaking market place. It aims at improving a completed screenplay in its final stages and to increase the international marketability of the same.
The 1st Session will be held during the Locarno International Film Festival, Locarno, Switzerland from 8th - 12th August, 2009 where participants will get first-hand experience of the workings of the international film community and get to train with their screenplay mentors.
The 2nd session at Film Bazaar, Goa from 24th - 26th November 2009 is where participants will apply their training and pitch their revised screenplays to participants at the film market.
The workshop will be conducted by Marten Rabarts, Artistic Director, Binger Filmlab, aided by experienced international guest mentors.
02 May, 2009
India and France are poised to once again raise the level of their efforts towards preservation in the fields of film and television. The Embassy of France in India has decided to donate as many as 234 films from its library in New Delhi to the National Film Archives of India (NFAI), Pune, this month. All these films are produced in France and are of high cinematic quality and excellence.
An agreement to this effect will be signed on 30th April 2009 at NFAI at 5.30 in the evening, which will be followed by a three-days film festival. Mr. Philippe Martinet, Cultural Counsellor, Embassy of France and Mr. Vijay Jadhav, Director, NFAI will sign the agreement.
The donation of these 234 films, under the international archive regulations, marks the continuation of cooperation between the Embassy of France and the NFAI. The Embassy of France in New Delhi is dedicated to promoting film and television preservation and heritage. In 2003, as many as 88 films were handed over to the NFAI. Earlier, in 1998, the Embassy of France donated 29 films to the National Film Archives of India.
Under the agreement, all these films will be preserved at the NFAI premises in standard conditions and will be permitted for use for non-commercial screenings, research and studies. From motion pictures to television, the mushrooming of visual communications counts among the most significant cultural evolutions of the 20th century. Everywhere in the world people are seizing the possibilities opened up by the visual media to create a vast cultural and documentary heritage. The Embassy of France in India is committed to strengthening the relations between cultural institutions of our two countries towards achieving this goal.
05 March, 2009
The Film Festival is being organized by the Directorate of Film Festivals, Ministry of Information & Broadcasting, Government of India in collaboration with the Delegation of the European Commission to India and the Czech Embassy along with other European Union Member State Embassies and local partners.
Besides promoting mutual respect and understanding, the aim of the European Union Film Festival in India is to encourage broad international cooperation programme of cultural and commercial relations between Europe’s film industry and filmmakers in India. Through the eyes of film directors, the festival brings a spectrum of pictures of European society in dramas of everyday life along with complex human relations and in everlasting search for love and happiness. There are comedies, a thriller with underlying emotions and real portraits of courage to stand up for values of justice and dignity.
The film “Czech Dream” will be screened at the inaugural function, as the Czech Republic currently holds the Presidency of the European Union. “Czech Dream” is a film about a hypermarket that never existed. The directors Vit Klusak and Filip Remunda will be personally inaugurating the European Union Film Festival in Chennai.
In Mumbai the Fun Cinema will host the event, in Pune festival will be presented in assistance with Indian National Film Archive. Kerala State Chalachitra Academy and the Corporation of Kozhikode is co-organizer in Kozihodhe. The partner of EU in Chennai is Indo Cine Appreciation Foundation and Kalamandir in Jamshedpur. Entry to all shows is free of charge on “first come first served” - basisFest details and schedules are here:
24 January, 2009
The debate also seems to have attained a rightist fervor, India’s biggest film icon Amitabh Bachchan reportedly commented on the film “”if SM projects India as [a] third-world, dirty, underbelly developing nation and causes pain and disgust among nationalists and patriots, let it be known that a murky underbelly exists and thrives even in the most developed nations.”
A Guardian blog posted by Nirpal Dhaliwal, looks for a racial angle in the debate “Bachchan is no doubt riled, as many other Bollwood no-talents will be, about the fact that the best film to be made about India in recent times has been made by a white man”
All these allegations/arguments cover a wide range of issues and definitely deserve a critical scrutiny.
One of the basis of such arguments is “success” of the film that is defined by Golden Globes and various other awards that the film has won in the US and the UK. According to the Internet Movie Database (IMDb) the film has won 31 awards apart from 4 Golden Globes and 37 nominations. Awards can definitely be taken as a parameter of critical success and 31+4 is an impressive score to begin with. Interestingly, most of the awards the film has won had been given by critics societies in the US and UK.
I do see a point in the arguments that the critical acclaim that the film has garnered is because of its western origins. Primarily because it reached those bodies which confer these awards.
This also makes us think if the film would have got such kind of attention, had it been made by an Indian director? The biggest handicap that I see is we don’t have a tradition of critical awards here in India. Here each business house representing a publication organizes an awards night of their own, that turns out to be more of an exercise to boost their brand, or draw TRPs or strengthen ties with stars than critically evaluate cinema.
Yes, we do have national awards but firstly, they run behind the schedule. By the time our Golden Lotuses are announced a film has already done its commercial runs (if released) and the ones which don’t get a release are forgotten. Besides, also lies the danger of awards being challenged in the courts.
We (except annual festivals) have no mechanism to screen, evaluate and reward a film independently and the ones that exist are either questionable or are too small to make a difference. Hence, the only means to judge success or failure of a film is its box office performance.
Isn’t it a little too much to expect from a Chicago critic’s circle or a critics association in LA to reward an Indian film for its intrinsic Indian qualities? They are bound to be better appreciative of a film if the director shares their sensibility. So yes, the fact that Slumdog is a film made and written (the screenplay) in English by westerners can make a difference in its critical evaluation, simply because the maker and evaluator share the same sensibility.
Isn’t it more practical to expect from an Indian film to win Indian awards and leave American awards to American films! Earlier we’ve seen films on the theme of Indian slums made by Indian directors and they’ve won critical acclaims in the country. Sudhir Mishra’s Dharavi won a national award and so did Mira Nair Salaam Bombay.
Things get complicated when we start thinking that American Awards belong to the whole world and Slumdog Millionaire is an Indian film. First leads to our craving for western awards especially Oscars and second leads to our claim of being victim of standardization.
2004, the year I came to Mumbai, I was amazed to see Shiva Sena, a right wing extremist nationalist party, collecting donations on the streets to support a Marathi film that was selected as India’s official entry to the Academy Awards in the foreign language category that year.
We have had discussed here earlier if American Academy is a fair judge, however, the point is also that how can a purely American academy (consisting of only US citizens as voters) be just to films rooted in alien cultures? So arguably, Slumdog being a film from a western perspective does help here and it has a favorable chance of getting nominated.
Another argument against the film is related to the issue of representation-the imagery that the film presents. According to some it exposes “the underbelly” of our rapidly developing country. I don’t subscribe to this argument either because I’m not unexposed to the underbelly of India. Firstly, its too manifest to be protected from anybody’s gaze. Secondly, our very own filmmakers be it Mishra (Dharavi) or Nair (Salaam Bombay) reveal it. You also see glimpses of it in Black Friday, even No Smoking, Life in a Metro and Sirf to name a recent few. Since these filmmakers are Indian, they have a right to showcase slums and Danny Boyle doesn’t, this argument doesn’t hold the test of scrutiny in a globalized world.
Is the film a stereotypical portrayal of India? The question calls for further discussion on what’s a stereotypical image of India and who decides that? If stereotype here means recurrent images of India in the western media and indophilic texts, then I would say that it has both Taj and Slums but neither hippies, snake charmers, naked Sadhus, veiled women, Maharajas nor elephants and hundred others. While the story is based in the slums of Mumbai, they can’t be done without. Taj also is a part of the narrative and you can’t deny Danny a chance to show Taj in his film only because it can be considered stereotypical representation of India and the director is a Briton!
Questions have also been raised about simplistic portrayal of the characters, who lack depth. I would agree that there were inconsistencies in the characters including the protagonist, however, the film was more concerned about the plot rather than taking us closer to the characters. I also believe the strategy of the director works because one gets hooked into the narrative as the film progresses. Though, largely remaining unsentimental, the film also manages to evoke sympathy if not empathy and identification with the central character. I know Indian mainstream (read Bollywood) conventions would have demanded little bit of more emotional appeal (like Chak De India) or an offbeat film (usually called “art film”) would have delved too deeper into the character but Danny Boyle’s narrative strategy can’t be questioned as long as it works. I think it strikes a fine balance between providing facts and paving way for fantasy.
Yes, what is simplistic about the film is the way it defines success. In the rags to riches story of Jamal Malik, success simply means money (the millions that he wins) and honey (the girl for whom he does that). It also has a tendency to escape to fancy means to resolve the real issues of slums, communal violence and child beggars through the means of a reality show. Some ten-fifteen years back the Jamal Malik of Slumdog (had it been a Hindi film by an Indian director) could have turned into a vagabond seething in vengeance, who would have sealed the fate of the rioters who killed his parent, the beggar mafia who blinded kids and the local don who stole both his brother and beloved.
However, that would have happened at least a decade ago. Now even Hindi cinema has moved forward, don’t you remember, recently we raved a film that realistically depicted a real issue and offered just a fantasy for a solution. Khosla ka Ghosla can’t be trashed because it fantasizes the solution of the problem of land grabbing in Delhi in order to make us probably laugh and feel better.
Probably, Hindi cinema audience haven’t gotten over our parallel cinema and still associate “realistic” (on location, hand held camera) approach of filming to issue based, cause oriented cinema. This cinema more often than not had a leftist leaning and was often overtly political. On the other hand, Danny Boyle is a new age, apolitical, post modern filmmaker, who known his craft well. Any similarities are just incidental.
Nevertheless, Danny Boyle’s Slumdog is more realist and contemporary. Perhaps after winning millions, Jamal will simply move a rung up in the social ladder, come out of the underbelly to the surface where India is rapidly growing. If Bollywood offers escapist fantasies then only difference about Boyle’s Slumdog is that his escape is fantastical!
13 January, 2009
Udedh Bun, (Unravel), the short film of Siddharth has been traveling all over the world and it has already been screened at Pusan Internatinal Film Festival (South Korea 2-10 October, 2008), Molodist Kyiv International Film Festival, Ukrain (October 18-26, 2008), Edinburgh International Film Festival (18-29 June, 2008) and Dubai International Film Festival (December 11-18, 2008). Siddharth had been invited on the feature film jury of the Noordelijk Film Festival held in the city of Leeuwarden (Netherlands).
It was the kind of beginning of a career for an extremely humble and soft-spoken Siddharth that anyone can only dream of. The Berlin Silver Bear that he received has had recipients like Satyajit Ray, Mrinal Sen and V. Shantaram earlier. Mrinal Sen had won the last Silver Bear at Berlin for India in 1980 for his film “Akaler Sandhane ( In Search of the Famine)”
Udedh Bun, started with a germ of an idea: an adolescent boy caught between his sexual awakening and an ill, bed-ridden mother. The film explores the dilemmas and fantasies of the boy.Siddharth came up with the idea about two years before he actually made the film. He has a unique way of developing a screenplay, rather than writing it down he prefers telling it to people. He narrated the story to almost everyone he knew and kept developing it into a screenplay.
A film without almost any dialogue or background score was a risky propositions, besides his friends told him that it might end up being a film lacking in pace. This is where noted filmmaker Mani Kual’s advice helped him plug in the loopholes. Kaul, himself an FTII alumnus, teaches filmmaking to the final year students of the institute and Siddharth took the opportunity to narrate his story to him.
Once ready on paper, the challenge was to transport the story and feel on to celluloid that involved finding right locations, actors and numerous props.
One property that made the making of the film a memorable experience for Siddharth was a cycle rickshaw that was used in only once sequence of the film. He hunted entire Pune for it but in vain. Finally, he had to bring one from Ahmednagar. He had to pull it himself with his assistant pushing it from behind for almost one and a half kilometres.
Once the shooting got over, on the edit table, Siddharth gave it a serious thought to put in background score since it had hardly any dialogues. He went ahead and almost hired a music composer, who advised him not to put any. Finally, Siddharth approached Mani Kaul again, who suggested that the film works better with the ambiance sound alone.
The three member international jury at Berlinale, highly appreciated Udedh Bun “for its modern narration” which according to the jury citation has a “sharp focus that relies on a harmony between images and sound rather than words”
The citation read out by the jury for Siddharth’s film praised the film highly; it reads “We are also sensitive to the new erotica brought to the traditional figure of the desired woman in the history of cinema.”
After a grand beginning of his career, Siddharth is currently working on his first feature film script. He doesn’t want to get into formula ridden world of Bollywood and wants to continue with his experimentation with the medium of cinema.
01 January, 2009
Nothing short of a revolution took concrete shapes in 2008. And boundaries of the silver screen got pushed like never before to encompass the whole world.
Signs of the “movement” started showing up in January 2008, when Palador Pictures, launched a five DVD Francois Truffaut collection. This was followed by collections of Akira Kurosawa and Wong Kar Wai. Sooner, NDTV group announced their new venture NDTV Lumiere, a 24 hours world cinema channel, backed by theatrical releases and DVD collection.
By February 2008, the first world cinema channel was already up on air. UTV World Movies, started beaming foreign films directly in our living rooms. A launch marked by advertising blitz, which took everyone by surprise.
Later, the basket got only bigger, notably Shemaroo, Enlighten among others entered the segment.
It was lot more than a co incidence that while the corporate sector was branding their world cinema venture as “movement”, the Federation of Film Societies of India, turned 50. A body, set up in 1959 with Satyajit Ray as its president and late prime minister Indira Gandhi as vice president.
The federation represents more than 300 film societies scattered across the country, where many of us (including me) have seen the very first glimpses of world cinema.
Entry of corporate world cinema distributors, into the field, which was considered the domain of film societies and festivals till date, created new issues. Some distributors tried to pose as new generation film societies, while some announced “why to wait for a film festival” and blamed festivals for dissuading masses from watching foreign cinema by associating them with high arts. On one occasion, a private distributor even asked MAMI film festival to stop screening films that they held rights of, while the prints were provided to the festival by the Spanish culture centre!
Gradually, the societies and private players learnt to live together. As they understood that their paths met quite often. Besides, they realized that societies and festivals could also add to their revenue and provide them access to an audience that they will take months to reach out to otherwise.
The brighter side of the private players’ entry was, we were treated to some theatrical releases that we would have been denied of otherwise. NDTV Lumiere chose Orphange to start its theatrical screenings on May 30, 2008. Soon, films like Persepolis, The Secret of the Grain, Three Monkeys, Caramel were released week after week that was unprecedented for Indian theatres!
One of the high points of the year was a traveling film festival of Swedish master Ingmar Bergman. Seven films including Silence, Through a Glass Darkly, Wild Strawberries were screened in six cities in the month of August and September. A treat that cinephiles will long remember the year for.
UTV World Movies while looking for popular elements in the foreign cinema, was presumably an instant hit with masses. Whereas, the old timers got their share of “world movies” through programmes like “Platinum collection” and “50 films you must watch before you die”. The channel screened classics like Three Colours trilogy and new finds such as 13 Tzameti. Interestingly, the channel was screening, Chabrols’s “A Girl Cut in Two” while it was still doing festival round.
Now, the channel has a rival in NDTV Lumiere, that went on air in October, 2008. A channel that rightly boasts an enviable collection handpicked from international festivals.
NDTV Lumiere library lent South Korean master Kim Ki Duk and Finnish maverick Aki Kaurismaki’s collection to festivals, where their retrospectives were held.
How can a world cinema “movement” be complete without “Bicyle Thieves”, the iconic film that inspired an entire generation. Surprisingly, for some reasons the film slipped the attention of any one of the players. Finally, on October 17, 2008, Enlighten Film Society, released it on DVD, making a foray in home video market.
The year 2008 marked an overwhelming beginning of organized world cinema distribution in India. Though, accessibility, information and in some cases quality of projection still remain an issue, lets hope, wrinkles will get ironed out in 2009. And, film societies, festivals and private players will come together to take “world cinema” to every nook and corner of the country.
Nevertheless, the year 2008, has assumed such a significance for world cinema lovers, that it could rightly be called the beginning of a new era. Just switch on your television, visit nearest DVD parlor or a multiplex to see the difference!