“
W
e need to understand the filmmaker through his idioms that s/he uses in the film.” One of the contemporary legends in the Indian cinema, Girish Kasaravalli is the venerable film maker that most of the film enthusiasts look up to. He was talking about My Idioms and My Perspectives of film making in the lecture conducted in Mascot Hotel as a part of Master Class. “Colour is the element that makes the composition rich. For each work, the director has to link the film with a unique colour which will stay throughout the film. While doing a film, the filmmaker should be aware of the colour scheme that suits it”. Analysing his own film Mane (1990), he discussed the factors of a film that influence the perception of audience, like sound, light and composition. Three decades in the field of cinema, and having an envious track record in film making, Girish Kasaravalli bagged the National Award for the best feature film four times. Rituals, ceremonies, legitimization games, legal procedures and codes of communication, and social conduct have their own place in his films. Kasaravalli’s films put emphasis on socio-religious institutions and their laws. He focusses on the matters of justice and its many
Seasoned
Perspectives On Cinematic Idioms conflicting definitions that seek to pin down its meaning on all, while having their focal points on the effects that these questions have on the social standing of women. In his talk, he compared the directional aspects of renowned directors like Flaherty, Eisenstein, Paul Cox, Bresson and their perceptions on cinematic idioms. While talking about the impact of digitalization in film industry, he said that the evolution of digital technology helps in creating idioms. He made a comparative status of film before and after the evolution of digital technology. His first feature film Ghatashraddha (1977), which won the Golden Lotus Award, paved the way for the emergence of new ideologist films that centred on social and women issues like Tabarana Kathe (1986), Thaayi Saheba (1997) , Dweepa(2002);each also bagged the Golden Lotus Awards. His successful innings in his film career was added by Padma Sri, the fourth highest civilian award given by the Govt of India. Born in Kesalur, a village in the Shimoga district in Karnataka, he completed his film education winning gold medal from Film and Television institute, Pune. Amala T Chacko |
Shibu Harisree |
I
Feminine Turbulences Unfurled
ranian Cinema always has the rare ability to touch our heart without falling into the trap of superficial melodrama. Ida Panahandeh's Nahid yet again proves this legacy of great masters of Iranian cinema as safe in the hands of younger generation filmmakers. Nahid is a brave attempt from a young directress to capture the internal conflicts and emotional turbulence faced by a young divorcee. She was a victim of early marriage who got separated from her young but wayward husband who left their 10 year old son with her. Nahid found it hard to make both ends meet. But somehow she manages to survive with her frugality and prudence. Her son does not come up to her expectations. He spends his school time with goons and street thugs. Her former husband makes regular visits to her, hoping that they would unite in the future. But Nahid was wooed by her rich but
widower employer, with whom she made temporary marriage settlement. Knowing this, her former husband took the boy with him, dashing Nahid into great sorrow. Her brother's attempts for reconciliations failed. A tussle between Nahid and Muhammed, her former husband, left a wound on her palm. Her son later joins her. The film ends when Masood joined the lonely Nahid at the seashore. The film reminds us, once again, of the difficulty society has while judging the inner landscape of a lonely woman. The recurring long shot of the turbulent sea metaphorically depicts the emotional turmoil of Nahid. The meticulous movement of the camera, with its gorgeous long takes, add to the beauty of the visual experience. The outstanding performance by the artists, especially Sareh Bayat, make the movie a wonderful experience.
Digital Threats To True Spirit
Of Cinema
Prabash Mukhopadhyay |
D
'
igital craze' is ruling the system of plastic post-modern world. Jean Luc Godard believes that digital will become the dictator of future cinema diminishing its aesthetic spirit (3X3d). Kaushik Ganguly, an eminent Bengali director, national award winner for his critical feature films Sabdo (2013) and Chotoder
Chobi (2014) on social issues, hopefully commented on thrust of celluloid that 'today after having embraced the digital medium completely, memories of celluloid filmmaking still refuse to fade away.' Kaushik's latest film Cinema wallah is in 'Indian Cinema Now' section of IFFK
2015. The movie revolves around a sad state of single-screen theatres in the country and in the context of a fatherson relationship set against the backdrop of cinema. In a small town in West Bengal, a retired film exhibitor, Pranab runs a traditional cinema of singlescreen, namely Kamalini. He has always maintained himself a pure 'Cinemawala'. By the time advanced digital technology arrived in the city, it gradually gets spread over the towns. Digital is threatening his business and theatre, which can screen only 35 mm prints. Contrary to Pranab's true spirit regarding the medium, his son, Prakash is an opportunist and greedy, who makes a living selling pirated DVDs of feature films in the town. The movie is woven around the father-son division by the social dilemmas of today's aggressive digital-encroachment over the globe. Both the father and the son are marketing films for viewers and for picking their lives, but each in his own way. Cinema wallah won the ICFT and UNESCO Juries' Fellini Medal.
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O
ften referred to as the ‘grand old man of theatre’, the national award winning director MS Sathyu is a mentor film aspirants can look up on. The octogenarian sits high on the empire he created in Indian cinema with no intention in retiring any time soon. In an exclusive interview given to Daily Bulletin, the multifaceted maestro opens up about cinema and theatre.
Thoughts on 20th IFFK 2015
IFFK is one of the most happening film festivals in India. A lot of people are
Mutuality between cinema and theatre
I would say that Indian cinema grew out of theatre. The format of our Cinema is still highly influenced by Parsi-Urdu and old Sanskrit theatre. Even today the acting and directional style of cinema is theatrical and highly melodramatic, like a stage drama played in front of a camera. The status of theatre in India is disappointing. But in certain states like Karnataka, Gujarat, Maharashtra and even in Delhi, theatre is very active. At
initiative films, which are highly creative, to establish a decent market also. And this is a global phenomenon. But the problem with Indian audience is that we are not exposed to European, African, Asian and Latin American films as regularly as American films. An American director has not found a new way to thrill the audience in the past 50 years other than racing, chasing and crashing of cars. Nothing new is offered there. IFFK, by screening films from Asia, Africa and European countries, is opening new
Indian Cinema
Rises From The Stage
basically fed up of seeing mediocre Television serials in satellite channels. The poor quality of mainstream movies, which are nothing but repetitive, also doesn’t satisfy the audience and they wish to see something different. That is why Film Festivals in India are growing in popularity. Now, when conducting Film Festivals have become a fashion statement, comparing the other similar fests happening in Pune, Kolkatta, Bengaluru and so on, IFFK always stands one step above. Accommodating a record of more than 12,000 delegates itself is a proof.
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the same time, in states like Kerala and Bengal, which boasts of rich film culture, the presence of quality theatre is near to nothing. But many other artistic initiatives in Kerala, like ‘Biennale’ happening in Kochi, give new hope.
Views on contemporary world movies
There are a lot of new types of films coming out from various countries. The technological advancements in the past decade have helped the quality and audience reach of movies a lot. Apart from mainstream movies, these advancements have helped independent and student’s
vistas before the audience.
Influence of contemporary world movies over Indian cinemas To an extent, yes; but this influence is not uniform. Compared to the other industries here, Malayalam film industry is pioneer in introducing new concepts into their movies. Such influences and advancements are visible in Odiya, Assamese, Manipuri and other movies produced from the East, as well. I saw two Malayalam movies in this IFFK and both of them were nothing short of brilliant. Jayasree C |
08th December 2015
meet THE Press
I
ndependent film makers do not design movies to entertain the mass, nor they make classy movies “, says Bauddhayan Mukherji, director of the film The Violin Player. He was speaking in the press meet here in IFFK 2015. Independent film makers are making movies about the marginalised people, which are not well accepted by the mainstream films. Over the last ten years India has been promulgating independent film making. Festivals like IFFK play a catalytic role in promoting parallel cinema. Different mode of revenue has to be generated for the independent films, only when it is void of Bollywood masala. Other Indian states should try to adopt the successful model of resurrecting Marathi films. A film maker should not just confine to the duties of a story teller, but should look beyond other titles in order to market his film. Political movies should definitely be made, but it should emanate the real political issues which directly affect our basic freedom of expression. “I am very proud to say that new edition of the Bond movie has not been censored in Pakistan; but in India I have to be cautious and vigilant even in my words”, said Pakistani filmmaker Jamshed Mahmood. When compared to other Indian States, Kerala is like a heaven. Taliban period was a dark time for Pakistan; we try not to make movies reminiscing that. Pakistani movies are on the road of revival, for Pakistani film makers the Bollywood movies are not less than a boon.
CS Venkiteswaran |
I
s there something like an Asian film aesthetic? Or, is cinema a universal medium with a universal language that is accessible and enjoyable to all? Obviously, like different forms of theatre or music or painting, cinema too have regional forms and avatars of its own. In the case of narrative styles, composition, storytelling, characterization, dramatics etc, each culture consciously or unconsciously follow their own storytelling traditions, visual idioms and performative styles. The narrative preoccupations of different countries too differ depending on the sociopolitical conditions, level of permissiveness and other ethnic/ religious exigencies. For instance, Iranian cinema necessarily has a unique way of representing women vis a vis European films; the characters from Nordic region have a worldview that seems to pervade the mood of their films; likewise the compositions of an Ozu is
Artists of Kerala Kalamandalam performing Kathakali in the Tagore Theatre premises.
Releasing the book Tharangal Vediyettu veena Rathri written by KT Shaul Hameed: Rajive Nath, Chairman KSCA, handing over a copy to Sunny Joseph, cinematographer.
Asian Cocktails totally different from that of a Fellini or Antonioni; the sexual promiscuity of many European films are unimaginable in many other countries. The European audience, even many French New Wave masters, couldn’t sit through Ray’s Pather Panchali when it was shown there: they found its narrative world and visual idiom totally alien or archaic. If one could make out the language or country from where the film originated from their very look and feel that says something about locality and cultural specificity. Every film is inscribed with many indelible and unavoidable markers of culture, like landscapes, costumes, cityscapes, architecture, language, flora and fauna, human behavior etc. For instance, one could instantly make out a Korean, Iranian or European film, from all of some of these. But the layers of difference could run more deep and pervasive. One marked reason for the resurgence during the last decades of Asian cinema, especially from
‘small’ countries like Thailand, Taiwan, Koreas, Vietnam, Hong Kong etc, in the international film festival circuit, could be due to this. Through some remarkable filmmakers with distinctive style and vision, these cinemas have been able to acquire a character of their own. Filmmakers like Apichatpong Weerasethakul and Tsai Ming-Liang have captured the attention of cineastes and film festivals all over the world through films that have a unique pace, tenor, visual feel and temper of their own. Totally devoid of conventional narrative crutches, they demand from the audience an intense attention and meditative abandon. Most significantly, their films are not mere personal experimentations, but narratives that bring into their layering searing political questions, both historical and contemporary. This is what makes them simultaneously very local and universal. venkitycs@gmail.com
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Entries open for 25th Aravindan Puraskaram Entries are invited for the prestigious ‘Aravindan Puraskaram’ competition exclusively for debut film makers of India. The films made by the debutants in 2015 will be eligible for the entry. The award will be decided by the jury comprising eminent film makers, cinematographers and film critics. The last date for entry submission is on February 15, 2016. The award proffers a cash award of Rs. 25,000/- along with a memento and citation. The award will be bestowed on the best debutant film maker on 15th March 2016, the 26th death anniversary of G.Aravindan. For the entry form and further details please contact: The Secretary, Chalachithra Film Society, Girija KNRA 14 Kailas Nagar, Chengallur, Poojapura, Thiruvanathapuram Ph: 0471-2358575 Mob: 947158575 Email: narayanannvk@yahoo.com
PRESS MEET
12PM | Tagore Premises
MEET THE DIRECTOR
EVENTS TODAY
3 PM | Tagore Premises
OPEN FORUM
5 PM | Tagore Premises
Padayani - Folklore Academy
OPEN FORUM INAUGURATED
The International Film Festival of Kerala (IFFK) raised the need for autonomy of government-run art and cultural institutions at the inaugural Open Forum session on the topic ‘Legacy of Film and Television Institute of India’, held at Tagore Theatre. “The wrong people are appointed at these organisations, eventually eroding their
quality,” said renowned filmmaker M S Sathyu. “These institutions should be free from political and bureaucratic appointments, like the National School of Drama. Professionals should head the organisations to enable its complete autonomy.” Noted directors Adoor Gopalakrishnan, Girish Kasaravalli, K R Mohanan, T Rajeevnath and film editor B Ajith Kumar, participated in the session moderated by acclaimed film editor Beena Paul.
Schedule Change Kattum Mazhayum (wind and rain) will be screened today in New Screen 1 at 11:15am instead of Big Father Small Father And Other
Stories.
Big Father Small Father And Other Stories will be screened today in
New Screen 1 at 9:00pm instead of Kattum Mazhayum. Ozhivu Divasathe Kali will be screened in Sree Theatre at 2.15PM Leila (Dir: Dariush Mehrjui) will be screened in Nila Theatre at 11.45AM instead of Mum's Guest Garam Hawa will be screened in New Screen 3 at 9.30PM instead of Red Cotton Silk Flower
Shijin VK
6.30 PM | Tagore Premises By Kuttoor Prasannakumar & Party
Jugalbandi
6.30 PM | Bharath Bhavan
SEMINAR - graftii
4 PM | Executive Lounge, Mascot Hotel
Role of FTII, Pune
in Indian Cinema; Malayalam Cinema FILM SCREENING @ MANAVEEYAM VEEDHI
Colors of the mountain
Dir: Carlos César Arbeláez. Spanish/90’/Colour/Colombia/2010
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08th December 2015
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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 Vallikunnam, 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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“The response of the audience encouraged me to do more experiments in movies”, said Jayaraj, director of the film Ottal. He was speaking in Meet the Director held in the Tagore Premises. “I am very much comfortable to work with inexperienced actors. Expressions and gestures of the non popular actors are more genuine”, he added “The happiness of the film maker depends on the number of audience watching the movie,” says Malayalam movie maker V K Prakash. He also added that good movies are born only when the audience go the theatres to watch them. “My movies are not to sell, but to express my feelings to the audience,” opined Manu, director of Munroe Thuruth. Movie talks about itself and not the directors. Movies are not about reaching a conclusion, but like a journey to mountain. The primary thing is to break the clichés. Aikyn Kalykov, actor of Bopem, Shehnad Jalal, cinematographer of Nirnayakam, Mukundan, actor of Nirnayakam, Meera Sahib and Balu Kiriyath were also present
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s‑I‑mï‑p-t‑]‑m-I‑m³ t‑^‑mt‑«‑m-{‑K‑m-^-d‑mb a‑pk‑vX-^¡‑p Hc‑p {‑]b‑m-kh‑pa‑p‑n-Ã. AX‑p-t‑]‑ms‑e¯s‑¶ \‑mS-I-h‑p‑w. \‑ne-h‑n-e‑pÅ c‑mj‑v{‑S‑ob k‑mlN-c‑y-§-f‑n ]‑mÀi‑z-h-X‑v¡-c‑n-¡-s‑¸S‑p¶hs‑â‑, c‑mj‑v{‑S‑ob s‑I‑me-]‑m-X-I§-f‑n t‑\Àk‑m-£‑n-b‑m-I‑p-¶-hs‑â‑, a‑m\-k‑n-I-k‑w-LÀj-§-f‑n-t‑e¡‑v X‑pd¶‑p s‑h¡‑p¶‑p s‑F\‑ns‑e I‑y‑mad-¡-®‑p-IÄ. AX‑p-t‑]‑m-s‑e-¯s‑¶ C¯c‑w k‑wLÀj-§-f‑ne‑p‑w s‑Nd‑nb s‑Nd‑nb \•-IÄ s‑N¿‑p-t‑¼‑mÄ s‑Nd‑nb s‑Nd‑nb kt‑´‑m-j-§Ä Dï‑m-I‑p¶‑ps‑h¶‑v s‑F³ \½s‑f H‑mÀ½-s‑¸S‑p-¯‑p-¶‑p. kX‑y-§Ä h‑nf‑n¨‑p ] d-b‑m-\‑m-{‑K-l‑n-¡‑p¶ k‑m£‑n-I-f‑ps‑S Z‑pc-h-Ø-b‑n \‑n¶‑v a‑m\‑p As‑æ‑n a‑pk‑vX^ \‑nc‑m-i-t‑b‑ms‑S I‑mg‑vNb‑n-Ã‑m¯ hÃ‑y‑p-¸-t‑b‑mS‑v/\t‑½‑mS‑v ] d-b‑p-¶‑p. ""\‑n§Ä¡‑v I‑mg‑vNb‑nÃ‑ms‑X t‑]‑mbX‑v `‑mK‑y-a‑m-b‑n. H¶‑p‑w I‑mt‑W-ït‑Ã‑m.'' Daily Bulletin Team |
MEET THE DIRECTOR
08th December 2015
Movies All The Way C
inema of the world and the world of cinema could well be indicative of the dichotomy between a reality and a wishful thinking, just as cinema from the world and the world in cinema could stand for a Bleak House versus Cinderella face-to- farce. Yet, from its earliest times, cinema has had this twin life ingrained in itself. Well-furnished, embellished with glittering illuminations, its star studded boudoirs still could remain, in essence, a façade for the Bleak House it tried to cover-up. The most conspicuous thing that unites contemporary world cinema emerging from various parts of the world is undoubtedly the focus on the various forms of unrest that the concerned communities are facing today. It manifests itself in equally varying forms- challenges of children growing up in a hostile world deprived of Disneyland consolations as in a Behman Ghobadi shocker Turtles Can Fly, gender challenges in a Mathrubhumi: A Nation Without Women scenario, dark-age-visage theocratic, male oriented Stoning of Soraya M or Timbuktu situation, colossal human tragedies of ethnic hostilities of a ‘Shooting Dogs’ proportions, manversus-nature reminders like Wolf Totem and so on and so forth. Unrests of explicit political magnitude have always been a taking-off for powerful cinematic expressions for great film makers like Costa Gavras or Steve Soderberg, while subtler critiques abound in many forms: apathy of the civilized world towards godforsaken aboriginals as in Rolf de Heer’s
Partners
Australian masterpieces like Charlie’s Country or that Indian casteist malice towards untouchables so brilliantly captured in Nagraj Manjule’s Fandry. The mythification of Gen. Franco’s fascist regime in Guilermo del Toro’s Pan’s Labyrinth is one of the all time best cinematic expressions of political chaos in the modern world. Horrors of the past buried for convenience often instigate brilliant cinema and hence, the countless holocaust movies. Yet at times they find novel expressions and thematic relevance which, despite apprehensions about overtly worn-out subject-matters, strike a chord even in the most iconoclastic of present day audience. Thus even in 2015 we have a Book Thief or Labyrinth of Lies, no matter the given situations prevailing elsewhere like in the Middle East caste dark shadows on the ‘victim’ legends. And, yes, the relentless Salt of This Sea
| Fazal Rahman that is Palestine is in no dearth of being told in cinema. One is tempted to surmise, from what can be gleaned by a discerning enthusiast about this year’s package of world cinema being show-cased home, that it quite happily abides by these observations. From the hypnotic vales of old-world Mongolia where wolves and gazelles roamed in unison with galloping horses (Wolf Totem) through the masquerading warrior-princess world of medieval China (The Assassin), to the claustrophobic male-world from where five young beauties must fight their way to freedom or doom (Mustang), the crop really looks exciting. Yes, as ever, one feels a bit disheartened at the absence some titles that, by any standards, well deserved to be there: like, say, The Beasts of No Nation (Cary Joji Fukunaga).
Technical Partners
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