Martin Sherman
Infusing Life Into
Art
“
T
he most difficult part in writing is to bring the ideas out and how to make it into a film or script or play or novel... it’s about understanding how to churn it into a living dramatic entity.” The level of expertise was evident when the eminent American dramatist and screen writer Martin Sherman spoke with ease during the lecture session ‘Master Class on Screenplay’ in Mascot Hotel, at 20th International Film Festival of Kerala. With his 20 stage plays being produced in over 55 countries during his lifetime, Sherman imparted valuable thoughts and opinions on contemporary writing techniques. Martin Sherman is famous for infusing his life experience, wisdom and vision into his works. He is an openly gay, Jew, and many of his works dramatize ‘outsiders’ dealing with the discrimination and marginalization of minorities like gay, female, foreign, disabled, and different in
religion, class or colour. His Pulitzer Prizenominated play Bent, produced in 1978, explores the persecution of homosexuals during holocaust, a highly sensitive and controversial theme to touch at that time. Bent was also a Tony nominee for Best Play in 1980 and won the Dramatists Guild’s Hull-Warriner Award. The play alone was produced in 35 countries. “Writing and working previously with theatre is helpful for writers as they will get to know how to talk, when to talk, what to talk and what not to talk with directors and others in set”, says Sherman. His other notable works include Next Year in Jerusalem (1968), The Night Before Paris (1969), Things Went Badly in Westphalia (1971), Alive and Kicking (1997), Aristo (2008) and re-write of the book from the musical The Boy From Oz, with the latter one earning him his second Tony nomination in 2004. In 2005,
Sherman received a nomination for Best Original Screenplay at British Academy of Film and Television Arts (BAFTA) for the TV movie Mrs. Henderson Presents. “Most of the powerful screen-writers in America are now working with TV series as it is the only place they can be in full control. It is possibly the most exciting film making place right now”, commented Sherman. Sherman was born in Philadelphia, Pennsylvania, the only born to RussianJewish immigrants, and had lived and worked in London since 1980. Despite his status as an expatriate, his proficient wiring expertise never failed to garner success and recognition in both British and American stage. “If you make a film, it’s always there. If not now, someday, even after our death, it will be appreciated.” Jayasree C |
Korean
Kaleidoscope O
ut of the different film packages of IFFK2015, the Korean package titled Korean Panorama would be a darling one for the Malayalee audience as they are thoroughly pre-experienced with Korean films in the earlier editions. The package will feature the films made by six prominent Korean film makers who have proven their mettle in the field. The Korean films exhibit a distinct character that will attract a considerable number of spectators in all editions of IFFK. The Unfair, Clown of a Salesman, Office, Stop, Madonna, and Right Now Wrong Then are the films going to be screened in the category. Office, directed by Hong Wonchan depicts a twisted, bloody satire of workplace drama. The film starts with a dedicated office drudge snapping and murdering his family with a hammer and the subsequent investigation brings to light not only problems with his place of employment, but larger issues about toxic corporate politics. Office is a horror-thriller genre film that was shown in the Midnight Screening at
the 2015 Cannes Film Festival. ‘Orchid Award for Best Narrative’ winning movie Madonna, directed by Shin Su Won is also an attraction in this package. Office takes more of a pulpy approach to Korea’s class inequality where as Madonna is full-on misery porn. Su-won Shin adds a welcome noir tinge to the story, though, that for the most part keeps proceedings from being overly sentimental. She is exploring the conflicts between rich and poor and class divide through her film. Stop, directed by Kim Ki Duk screening in this category is a film that gives us a central theme on protection of nature and the people suffering from natural disasters. In the making of this film Kim Ki Duk played the role of director, screen writer, producer, choreographer and editor. The film tells us about the story of a young couple moving to Tokyo due to the Fukushima nuclear incident as they realize that the wife is pregnant. Unlike his previous films, Kim Ki Duk selected a different concept to visualize the health hazards caused by the nuclear calamities
and creative proactive attitude towards nature conservation. The Unfair is a 2015 court room drama film directed by Kim Sung- Je. It’s a film in which a legal battle rages between a prosecutor and a lawyer due to the paternal love. Clown of a salesman directed by Jo Chi Un is the film that depicts the struggle of a father to find money to pay the hospital bills of his daughter. For that, he got hired for a job that provides free entertainment to old women in exchange of buying their health products. The story goes on with the hindrance which comes to his life while he tries to make both ends meet. Right Now, Wrong Then, the last film in this package which bagged several awards, is a film of minute observations rather than grand revelations, less concerned with butterfly-effect consequentiality than the variable human foibles that can turn a bad day into a good one. The package will be an enriching bonus for the film lovers. Amala T Chacko |
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First Look D
Baptism By Fire
ebut films are always crucial as it can make or break the career of its director. Successful directorial debuts can open doors for new directors, helping them to launch illustrious careers or create a legacy that will last long. A debut feature can add a lot of pressure to its directors, as they have to navigate through the treacherous waters of the entertainment industry and capture audience’s attention as well. 20th International Film Festival of Kerala has included the category ‘First Look’ to recognise some of the best directorial debuts released in 2015. Mexican feature -writer Celso R. García enters the silver screen with an appealing drama-comedy, The Thin Yellow Line. The movie deals with five financially strapped men hired to paint the centre stripe along 120 miles of Mexican state highway, with an underlying theme of economic crisis in Mexico. In My Skinny Sister, an eating-disorder drama is seen through the eyes of the youngest member of a dysfunctional family. Swedish writerdirector Sanna Lenken's has added the right amount of humour and charm to this simple tale, while the brilliant performances from its lead characters brings in more passion.Ethiopian filmmaker Yared Zeleke's first feature
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Lamb looks at a little boy who loves cooking much more than ploughing the land. Beautifully crafted, the movie tells the story of Ephraim’s relationship with his pet lamb, which provides a source of solace amidst turmoil at home. Hopefuls is an intriguing social realist film from Brazil, which focuses on how football gives many young Brazilians the possibility of a better life, while also preparing them for the unavoidable disappointments that comes ones way. Brazilian director Ives Rosenfeld has accomplished in foregrounding emotion and mood over plain narrative. Chinese film maker Gan Bi’s Kaili Blues is set in the mystical province of Guizhou where doctor Chen Sheng, embarks on a journey by train to find his nephew, who had been abandoned by his brother. The camera effortlessly follows the hero on bike, foot and boat uninterrupted, as he experiences his past, present and future. Cesar Augusto Acevedo makes his directorial debut with Land and Shade, which tells a spell-binding story of a rural wasteland charged with rousing grief. The movie’s slow pace allows it to communicate different ways of life and aural rhythms effectively with its audience. Being a movie made about the Mexican gun trafficking, there are plenty of guns
but few actual shots fired in 600 Miles. Mexican director Gabriel Ripstein takes a less sensational and true-tolife approach for his debut movie. Ripstein’s background as an established writer- producer and also the presence
of seasoned actor Tim Roth makes 600 Miles a crowd-pleaser. The American film maker Paul Thomas Anderson reminds us of the turmoil that a debut director undergoes in his statement, “The very first film, I had to fight to finish. It was baptism by fire. I learned all the lessons I needed to learn on the first film, about protecting myself and how to keep a lock on the editing-room door.’ May be, this is true of all the directors who are duly seasoned today. Daily Bulletin Team |
07th December 2015
T
ransgender characters are not uncommon in Kannada films as in Malayalam Films, but are mostly at the receiving end of crude jokes. An edgy Kannada film I am not He...She (Naanu Avanalla Avalu) which bagged The Best Actor and Best Make-up Artist award at the National film Awards screened at IFFK 2015 was the only film on transgender issue in this festival. The film that is based on the autobiography of Living Smile Vidya, one among the very few educated transgenders of India, the founderdirector of Panmai Theatre and also the first Indian transgender to receive the British Council’s Charles Wallace Award 2013 for her excellence in theatre, opened up the vistas of the internal and external turmoil of the trans-community through its narrative. BS Lingadevaru throws all the stereotypes out of the window. The protagonist in his film Naanu Avanalla Avalu is a transgender, a bold attempt in itself, who attempts to become a complete transsexual battling the shock of his family, social stigma and the shortcomings of his own kind. As Madesha transforms into Vidya, through the linear narrative the film turns realistic by the brilliant acting of Sanchari Vijay, Sundar and Sumithra as well as the candid shots of the cinematographer Ashok Raman. The music of Anoop Seelin, especially
Transgressing the Binary Space at IFFK
Deepak O Nair |
the folk background score helps the spectators to relate to the nuances of the guru-chela Hijra communities. Transgenders require understanding and support of the government, healthcare professionals, general public as well as their family members. Transmen issues are further complicated as they are least visible in our society. The film screened in the capital city, the
same place where Mx Vidya flagged of the Kerala Queer Pride- 2015, served as Kerala’s token of respect and consideration for the marginalized/ neglected gender community. There may not be answers to many questions, but the film is a powerful message that no matter what preference one has towards one's gender, they need to be treated on par with everyone.
MEET THE DIRECTOR “Director is the one who moulds the actor”, said Dr. Biju, the director of the film Valiya Chirakulla Pakshikal. He was speaking in the Meet the Director programme held in connection with IFFK 2015.The ultimate goal is, for an actor to deliver the exact outpour of emotions that director ideates. A motion picture becomes ideal when the actor gets identified with that character and behaves the role. The theme of the film is based on the life of the well known photographer Madhuraj. “My film depicts the real story of my own brother who was suffering from mental illness”, said Kalpana Ariyawansa ,director of the Sinhalese movie Dirty, Yellow,Darkness. He also said that Srilankan movie industry is not as developed as the main stream Indian film industry.
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he primary purpose of a film festival is to create platforms for heating debates on the topic like cultural and political issues” said Claire dobbin in her lecture on Global Audience. The renowned Australian Scriptwriter and Editor Claire Dobbin delivered the Aravindan Memorial lecture of IFFK 2015. In her talk, she elaborated on the origin of film festivals and the crisis faced by the festivals worldwide. According to Claire Dobbin, “film festivals play the key role in bringing new and marginalized arts to the mainstream section”. She began the lecture by introducing the history of film festivals like Venice film festival, Cannes film festival, Berlin film festival etc. “The main factor that makes film festival unique from other festivals is its commitment to the human rights “says Claire. She also mentioned that there were lots of political issues that caused several times the shutting down of major film festivals across the world. Claire runs script workshops in Australia, New Zealand, Norway, Dubai, India and Abu Dhabi and has been a guest lecturer at the Abu Dhabi film festival and at Royal Holloway, London. In her 30minute long lecture she described the recent trends that occurred in the film festivals. “The style of film culture is evolved from the propagandic nature followed in the earlier periods and later on it influenced the emergence of new innovations in its formation” opined Claire in her lecture.
meet THE Press
“The right to decide what should be shown on the screen fundamentally lies with the director, and it should be unambiguous. Festivals like IFFK are unique in doing away with the requirement of a censor board certificate to screen films,
EVENTS TODAY
PRESS MEET
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12PM | Tagore Theatre
MEET THE DIRECTOR 3 PM | Tagore Theatre
OPEN FORUM
said Satheesh Babusenan, co-director of the movie Chayam Pooshiya Veedu. He was speaking in the Press Meet programme held in Tagore Theatre, as a part of IFFK 2015. Freedom of expression should not be catered to any authority. “The movies depict the mutuality of the interaction and connection between the inner quest and inner life of humanity”, opined Santhosh Babusenan. “As we were not able to get the censor certificate, we lost a perfectly good opportunity to showcase the movie in Indian Panorama section of IFFI.” He, too, attacked the present day working style of the censor board severely. “I grew up watching movies of Raj Kapoor and Dileep Kumar which allured me to film making”, says Alkyn Kalykov, actor in the Bopem. The younger generation get more opportunities in Kazhakistan film industry, he added. Malayalam film maker Kamal K.M. moderated the session.
PANEL DISCUSSION
5 PM | Executive Launch, Mascot Hotel Piracy and Original Creation
Film Screening @ Manaveeyam Veedhi
MASTER CLASS
6 PM | Executive Launch, Mascot Hotel Mr Girish Kasaravalli My Idiom and My Perspectives
5 PM | Tagore Theatre Inauguration: Adoor Gopalakrishnan 6.30PM M S Sathyu, Jabbar Patel, Gireesh Mudiyettu Tagore Premises Kasaravally, Kamal, B Ajithkumar
Time: 6.30PM Portrait in a sea of lies Dir: Carlos Gaviria Spanish/colour/91’/Colombia/2010
07th December 2015
ARAVINDAN MEMORIAL LECTURE
Film Festivals To Be Committed To Human Rights
Breaking out of the Prison House of Linear Narratives CS Venkiteswaran |
W
atching Aleksandr Soku rov’s Francofonia is an experience that blends several things: reading a book of thoughts, browsing through an art museum, all the while following the angst of a filmmaker agonized by the twists and turns of history, yet desperately reaching out to it for succor. Punctuated with the oft-interrupted telephonic conversations between Dirk, the captain of the ship carrying art works across the ocean and the filmmaker, the film is a journey through a traumatic historic period during World War II when Paris was under German occupation. The film unfolds through paintings, photographs and musings on them, historic tableaus, enactments of certain key characters and archival footages from the period. This intricate yet exciting mix of various strands create a very complex cinematic narrative (if one could call it that) where film becomes more of a discourse-image, or a thought-image, where the text, speech and image mesh and collide with memory, history and reflection. This is akin to what Greenaway argues cinema ought to be or aim at. For him, “(Film) has so many ways to portray its knowledge; let’s create a primary, visually
alive, visually supporting, visually autonomous phenomenon, which everybody argued for … But in a curious way, we’ve ended up with a sort of boring bed-time-for-adults, illustrated, third-rate novel, which really is no way to support literature, and certainly is no way to support cinema.” Films like that of Sokurov break out of the prison house of linear narratives that promise a definite beginning-middle-end structure, and in which all the questions and problems thrown up by the narrative are solved, all loose ends tied up, fixed and done away with. The spectator can leave the theatre, with his/her slate clean, also, empty; his/her mind back to rest, after the brief catharsis. Films that disturb and challenge such hegemonic narrative structures revered as ‘realistic’ or ‘natural’ are the ones that open our minds to new possibilities of thought and connect us to new modes of imagination. Here, the foundations of linearities and teleologies crumble, and you are left in paths and alleys that you were blind to; and you are left outside of yourselves, but intimately close to the agonies of the Other. If art heals and frees, it is through such experiences of liberation and abandon. venkitycs@gmail.com
X-\‑n-a-b‑p-s‑S A-c-§‑p-IÄ t‑Ic-f-¯‑n-s‑âb‑p‑w `‑m-c-X-¯‑n-s‑âb‑p‑w s‑s‑]-X‑r-I ]‑m-c-¼-c‑y-§Ä k-a-\‑z-b‑n-¡‑p-¶ I-e-‑mc‑q]§Ä C-c‑p-]-X‑ma-X‑v t‑a-f-b‑p-s‑S `‑m-K-a‑m-I‑p-¶‑p. S‑mt‑K‑mÀ X‑ot‑b-ä-d‑ne‑p‑w `‑m-c-X‑v `-h-\‑ne‑p‑w ]-¯‑m‑w X‑obX‑nh-s‑c- FÃ‑m Z‑n-h-k-h‑p‑w -s‑s‑h-I‑n«‑v 6.30 a‑pX 7.30 h-s‑c-b‑p-Å k-a-b-§-f‑n-e‑m-W‑v A-h. t‑I-c-f I-e‑m-aÞ-e‑w A-h-X-c‑n-¸‑n-¡‑p-¶ k‑wLt‑a‑m-l‑n\‑n-b‑m-«‑w‑, I-Y-I-f‑n- F-¶‑nhb‑p‑w U‑n-k‑w_À 7‑,8‑,9 X‑o-b-X‑n-I-f‑n t‑I-c-f t‑^‑m-I‑vt‑e‑mÀ A-¡‑mZ-a‑n A-h-X-c‑n-¸‑n-¡‑p-¶ a‑p-S‑n-t‑bä‑v‑, ]-S-bW‑n‑, s‑X-¿‑w; 10þ‑m‑w X‑obX‑n t‑I-c-f k‑wK‑o-X \‑m-S-I A-¡‑mZ-a‑n-b‑p-s‑S s‑X-c‑p-h‑v P‑m-e-h‑n-Z‑y F-¶‑nh-b‑p-a‑mW‑v H¶‑m‑w t‑h-Z‑nb‑m-b SmtKmÀ Xo-tb-ädnÂ. `‑mc-X‑v `-h-\‑n-s‑e cï‑m‑w t‑h-Z‑n-b‑n FÃ‑m Z‑n-h-k-h‑p‑w 6.30 a‑pX 7.30 h-s‑c h‑nh‑n-[ I-e‑m-k-a\‑z-bt‑a-fA-c-§‑p-W-c‑p¶‑p. IÀ-®‑m-S-I þ I-YI-f‑n k‑w-K‑oX-§Ä‑, `-c-X-\‑m-S‑y‑w þ I‑p-¨‑n-¸‑pS‑n‑, H-U‑ok‑nþI‑p¨‑n-¸‑pS‑n‑, H-Uok‑nþ`-c-X-\‑m-S‑y‑w‑, k‑n-¯‑mÀþh‑o-W‑, I-Y-I‑v þ t‑I-c-f \-S\‑w‑, l‑n-µ‑p-Ø‑m-\‑n þ IÀ®‑m-S-I k‑w-K‑o-X-§Ä F-¶‑nhb‑m-W‑v P‑p-KÂ_-µ‑n-b‑nÂ. H¸‑w 10þ‑m‑w X‑obX‑n 7.30 a‑pX 8.30 h-s‑c K‑pc‑p-t‑K‑m]‑n-\‑mY‑v \-S-\-{‑K‑m-a¯‑ns‑â t‑Ic-f \-S-\h‑p‑w cï‑m‑w t‑h-Z‑n-b‑nÂ. I-\-I¡-‑p¶‑v ]‑m-e-k‑n t‑I-c-f e-f‑n-XI-e‑m A-¡‑m-Z-a‑n-b‑ps‑S- N‑n-{‑X-t‑i-J-c-¯‑n \‑n-¶‑v s‑X-c-s‑ª-S‑p-¯ N‑n-{‑X-§-f‑p-s‑S {‑]-ZÀi-\‑w FÃ‑m-Z‑n-h-kh‑p‑w. I‑qS‑ms‑X H³-]X‑m‑w X‑ob-X‑n s‑s‑h-I‑n«‑v 5.00 a-W‑n-¡‑v a-k‑v-¡-ä‑v-t‑l‑m-«-e‑n-s‑e t‑e‑m-©‑n A-S‑qÀ t‑K‑m-]‑me-I‑r-j‑v-W³ D-Z‑v-L‑mS-\‑w s‑N-¿‑p-¶ k‑n-\‑n-ab‑p‑w k‑m-l‑n-X‑yh‑p‑w F¶ N-e-¨‑n-{‑X s‑k-a‑n-\‑md‑p‑w {‑]-X‑n-\‑n-[‑n-IÄ-¡‑p‑w -A-`‑y‑p-Z-bI‑m‑w-£n-IÄ¡‑p‑w k-h‑n-t‑i-ja‑m-b B-k‑z‑m-Z-\-¯‑n-\‑v h-I \ÂIp¶-h-bmWv‑v. A-e-I‑v-k‑v h-Å‑n-I‑p¶‑w |
Change in Schedule Kattum Mazhayum (wind and rain)has been rescheduled to 8th December in New Screen 1 at 11:15am Big father small father and other stories will be screened on 8th December in New screen 1 at 9:00pm.
Festival Director T Rajeevnath, Chaiman KSCA Chief Editor S Rajendran Nair, Secretary KSCA Editorial Board Chairman J Ajith Kumar Convenor Renji Kuriakose Coordinator Jayanthi Narendranath Members Alex Vallikkunnam, CP Sree Harshan, Beena Khalam, Sajeev, Anand Executive Editor Sadeesh Chalippadam Associate Editor Mammed Montage Assistant Editor TM Hisham Sub Editor Haris Nenmeni Reporters Amala T Chacko, Jayasree C, Keerthana Mannayam Stills Ajay Saga, Shijin V K Design & Layout Shabeer M P Layout Assistant Saeed Fasal Printing Akshara Offset, Thiruvananthapuram Editorial Support Haris Kormath Printed & published by S Rajendran Nair, Secretary, Kerala State Chalachitra Academy, Thiruvananthapuram on behalf of the Department of Cultural Affairs, Govt of Kerala.
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f-b‑ps‑S a‑pJ‑y-t‑h-Z‑n-b‑mb S‑mt‑K‑m-À X‑o¿-ä-d‑ns‑â hf-¸‑n-s‑e-¯‑p¶ Gs‑X‑m-c‑mÄ¡‑p‑w X‑m³ ]X‑n-ä‑m-ï‑p-IÄ ]‑n¶‑m¡‑w ]‑mª‑v ]gb I‑me-¯‑n-e‑m‑W‑v ]‑mZ-a‑q-¶‑p-¶X‑v F¶ t‑X‑m¶-e‑mW‑v Dï‑mI‑p-I. k‑m‑wk‑vI‑m-c‑nI ]‑mc-¼-c‑y-¯‑ns‑â t‑{‑]‑mÖ‑ze Nc‑n-{‑X-a‑pÅ S‑mt‑K‑m-d‑n-s‑â A´-c‑o£‑w K‑rl‑m-X‑p-c-X-b‑p-WÀ¯‑p‑w h‑n[‑w {‑]‑uV-a‑mb‑n ]‑p\‑x-k‑r-j‑vS‑n-¨‑n-c‑n¡‑p¶‑p Ch‑n-s‑S. Ia‑m\‑w]‑n¶‑n-s‑«-¯‑p-¼‑t‑g t‑IÄ¡‑m‑w At‑X ]gb ]‑m«‑p-IÄ. \‑oe-¡‑p-b‑n-e‑n-s‑e‑, I‑p«‑n-¡‑p-¸‑m-b-¯‑ns‑e‑, P‑oh‑nX \‑uIb‑n-s‑-e... t‑af-s‑¡-¯‑p-¶-h-c‑ps‑S k‑uIc‑y‑mÀ°‑w {‑Ia‑o-I-c‑n-¨‑n-c‑n-¡‑p¶ "s‑Ue‑nt‑Kä‑v s‑kÃ‑n's‑â ka‑p-¨-b-¯‑nÂ\‑n-¶‑mW‑v C‑u K‑m\h‑oN‑n-IÄ Hg‑pI‑n hc‑p-¶-X‑v. C‑u t‑I{‑µ-¯‑n-s‑â \‑nÀ½‑n-X‑n-¡‑p-a‑pï‑v kh‑nt‑i-j-X-IÄ. \‑me‑p N‑pä‑p‑w H‑me s‑I«‑n-a-d-s‑¨‑mc‑p ] gb \‑mS³ s‑I‑m«-I-b‑ps‑S a«‑v. Ah‑n-S-h‑ns‑S {‑]t‑h-i\ Ih‑mS§Ä‑, Cc‑n-¸‑n-S-§Ä‑, CXc k‑uI-c‑y-§-Ä. t‑a¡‑q-c-b‑n DbÀ¶‑p \‑n¡‑p¶ ]gb t‑I‑mf‑m¼‑n s‑s‑a¡‑v. s‑Ue‑n-t‑Kä‑v s‑kÃ‑nÂ\‑n¶‑v ]‑pd-¯‑nd-§‑p-t‑¼‑mÄ I‑mW‑m‑w Nc‑n-{‑X-¯‑ns‑â kh‑n-t‑i-j-a‑ms‑b‑mc‑p ]IÀ¯‑n-s‑h¸‑v. s‑^Ì‑n-h-e‑ns‑â Ø‑nc‑w I‑mg‑vN-¡‑m-c‑n H‑mÀ½-I-f‑ps‑S \d‑p‑w KÔ‑w s‑I‑mï‑p-h¶‑p \‑nd-¡‑p¶ s‑^Ì‑n-h ]‑pk-vX-I-§-f‑ps‑S
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]‑pd‑w-N-«-IÄ Hs‑¶‑m-¶‑nt‑\‑mS‑v t‑NÀ¯‑v {‑Ia‑o-Ic‑n-¨‑n-c‑n-¡‑p-¶‑p. 1994 s‑e BZ‑y-t‑a-f-b‑n-t‑eX‑p a‑pX 2015 s‑e Cc‑p-]X‑m‑w t‑af hs‑c-b‑pÅ cï‑v ]X‑n-ä‑mï‑p-I-f‑ps‑S H‑mÀ½-If‑ps‑S s‑s‑lt‑ej‑v k‑w£‑n-]‑vX‑w. ]gb \‑m«‑p-¼‑p-d-¡‑m-g‑vNI-f‑ps‑S a‑p{‑Z-b‑m-b‑n-c‑p¶ Hc‑p N‑mb-¡-Sb‑pï‑v CX‑n-\-c‑n-I‑nÂ. H‑me N‑mc‑n ]S‑p¯ C‑u IS-b‑n I®‑mS‑n Ae-a‑m-c-b‑n ] e-l‑mc§Ä k‑q£‑n-¨‑n-c‑n-¡‑p-¶‑p. Dïs‑¼‑m-c‑nb‑p‑w h‑mg¡‑mA¸h‑p‑w hS-b‑p-s‑aÃ‑m‑w.. N‑mb I‑q«‑m³ ]gb kt‑a‑m-hÀ. ] e-h‑n-[a‑m‑w NÀ¨-I-f‑m a‑pJ-c‑n-X-a‑mb At‑X ]gb k‑m‑wk‑vI‑mc‑nI‑m´-c‑o£‑w AI-¯‑v. a‑pä¯‑v k‑n\‑na‑m ]c-k‑yh‑p‑w ] gb ac-_-©‑p‑w. DÕh ]d-¼‑ns‑e a¡‑m\‑n-Is‑ft‑]‑ms‑e c‑mt‑hs‑ds‑N¶‑p‑w X‑pd-¶‑ph-¨‑n-c‑n-¡‑p¶‑p C‑u \‑mS³ ]‑oS‑n-I. IS-b‑ps‑S N‑ms‑c Hc‑p I‑mf hï‑n-b‑pï‑v H‑m«-a-h-k‑m-\‑n-¸‑n¨ \‑ne-b‑nÂ. N‑pä‑p-]‑m-S‑ps‑a‑m-g‑p-I‑p¶ ]‑pX‑nb I‑mes‑¯ \‑nÊ‑m-c-a‑m¡‑p¶ {‑]‑uVX {‑]k-c‑n-¸‑n-¡‑p¶‑p AX‑v. a‑pJ‑y-t‑h-Z‑n-b‑ps‑S {‑]‑m´-§-f‑ns‑e s‑hb‑ne‑p t‑N‑mÀ¯‑m¯ ac-§f‑p‑w Hä¡‑p‑w I‑q«‑mb‑p‑w Cc‑n-¡‑m\‑p‑w k‑wk‑m-c‑n-¡‑m\‑p‑w DÅ k‑uI-c‑y-§f‑p‑w A´-c‑o-£s‑¯ I‑m¸-\‑n-I-a‑m-¡‑p¶‑p. H‑mÀ½-Is‑f as‑äh‑n-t‑S-t‑¡‑m- \-b‑n-¨‑p-s‑I‑mï‑p t‑]‑mI‑p-¶‑p. CS¡‑p s‑]¿‑p¶ ag-¡‑p-t‑]‑me‑p‑w Ch‑n-s‑S-
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07th December 2015
T
he 20th edition of IFFK is timely catching up with the new technological advancements, and this time the festival will screen a package of Three Dimensional films. Unlike the earlier editions which also screened 3D films in previous years, this edition contains a special section which is earmarked solely for the 3D films. Six films of this genre from across the world are going to be screened under the category ‘3D Experience’. “It makes things more real, more intimate. You feel like you are puppets inside a box, because it's a rectangle with faces inside “ says Gasper Noe , the director of the film The Love. This creative innovation will surely hike the audience appeal towards the festival. Wolf Totem directed by Jean- Jacques Annaud which was screened as the opening film of the festival received high ovation from the 3D film buffs. The film is about the mysterious voyage into the depth of nature and revelation of the unique bond between man and
THE THIRD DIMENSION OF
VISUAL REALITIES
nature. The other films in the package are the Martian, Pan, Love, Life of Pi and Everything Will Be Fine. The Martian is a science fiction movie directed by Ridley Scott. The film depicts the endeavour and struggles of an astronaut who got lost in the Mars during the mars mission. Pan is another film in the package which is directed by Joe Wright. It’s an action adventure that follows the story of an
Ajay Saga
Partners
orphan who is spirited away to the magical land, Neverland .The French film Love, directed by Gasper Noe, is about the conflicts and confusions taken place in the mind of Murphy after he came to know about the missing case of his exgirlfriend. The film was also screened in the Cannes film festival, Toronto international film festival and some other prominent festivals. Ang Lee’s Life Of Pi is the next film in this section which tells the story about a young man’s incredible survival at sea against the impossible odds. The film had received high attention when it was released in 2012 and bagged several academic awards in its journey forward. Everything Will Be Fine is the last film in this category which is directed by Wim Wenders. The film tells about the struggle of a man in rebuilding his family after a disaster and his journey in search of forgiveness. “There's something that 3D gives to the picture that takes you into another land and you stay there and it's a good place to be”, opined by Martin Scorcese director of Hugo and Good Fellas. The three dimensional visual realities in the package will surely offer the audience an incomparable cinematic treat this time. Daily Bulletin Team | Technical Partners
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