KAUFMAN - "Or cramming in sex, or car chases, or guns. Or characters learning profound life lessons. Or characters growing or characters changing or characters learning to like each other or characters overcoming obstacles to succeed in the end. Y'know ? Movie shit."
Kaufman is sweating like crazy now. Valerie is quiet for a moment - from "Adaptation".
We are all about CINEMA. That movie shit.
NOTHING is sacred.
NOBODY is spared.
Because we talk about films, dammit.
Not your sex life.
Films, fests, unsung, indies, undiscovered - all that and some fun. If you have dope on anything related to cinema or you would like to share something, do write to us at moifightclub@gmail.com.
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Mumbai Film Festival (October 13-20th, 2011), organized by MAMI is a Reliance Big Entertainment Ltd. (RBEL) initiative and it showcases the best of contemporary world cinema, Indian cinema and feature length documentaries. The Festival is a highly regarded and anticipated event in Mumbai’s cultural calendar and last year it managed to screen some of the best films from across the world. Click here and here to read our posts on last year’s fest.
The festival is inviting submissions for this year’s fest. The festival accepts feature-length films for its various competitive and non- competitive sections.
DATE: Entry forms and screeners for selection must reach the festival office before August 1st, 2011.
FEES : There is NO entry fee.
Cash Awards & Incentives – Mumbai Film Festival offers one of the highest cash awards – US $ 200,000
– International Competition for the first feature films of directors -US $100,000 for the Best First Film to be shared equally between the film’s producer and director.
– US $ 50,000 for the Grand Jury Prize to be shared equally between the film’s producer and director.
– The Audience Choice Award : US $ 20,000 to be shared equally between the film’s producer and the director.
– Cash incentives for Sales Agents : US $ 10,000 if the award winning films are international or world premiers.
SECTIONS : 1. International Competition for the First Feature Films of Directors More
2. Above the Cut (First Feature Films which could not be included in the competition Section) More
3. World Cinema (Award Winning, Critically acclaimed feature films produced during the one year period after the last edition of the Festival) More
4. Dimensions Mumbai (A short film competition for the youth of Mumbai). More
5. Harmony Celebrate Age (International Competition for films dealing with the concerns, spice, fun and adventure of growing older) More
6. Real Reel (A selection of feature length documentaries)
7. Indian Frame (A selection of high quality Indian Films) More
8. New Faces in Indian Cinema (first or second films of directors) More
9. Retrospectives / Tributes / Master Classes More
ADDRESS: 13th Mumbai Film Festival, Mumbai Academy of Moving Image(MAMI), 49/50, Maruti Chambers, 3rd Floor, Fun Republic Lane. Off Veera Desai Extn. Road, Andheri (W), Mumbai – 400 053, INDIA.
The wait is over. The Baap is here to kick all the ass! It stars Tony Leung and Zhang Ziyi. The Grandmasters is the biopic of Yip Man, the first martial artist to teach Wing Chun, the man who trained Bruce Lee and others. Leung plays Yip Man in the film.
We are quite late on this one. Have been reading a lot about the film and have missed few screenings too. The good news is the film will again have a screening in Mumbai soon at the Naya Cinema Festival. If you haven’t seen it yet, check out the trailer of the film.
And we continue with the bullet-point report again. Tweet after watching the film and then put all the tweets in one place. Here you go…
– With Zindagi Na Milegi Dobara, Excel completes its trilogy of “Coming Of Age” films. And since it’s a given fact that nobody wants to put money for 15 year olds going through the same, we have to settle for “it’s not about the age but mileage” when it comes to COA cinema in Bollywood. Of course there are exceptions like Udaan and no wonder it took seven years to cover the distance between script and screen.
– It’s about three men and their minor issues in life – job, marriage and daddy. If i say these are minor issues, it’s hard to believe because most films deal with just one issue and devote 2-3hours building the drama around the same, giving enough angst to the hero and finally settling for a solution. This one has nothing of that sort. And so it feels like minor issues.
– Zoya Akhtar loves to capture moments, and not melodrama. The film is full of such small moments and she captures them gorgeously. When the camera lingers on, and the characters are in that moment that matters the most, it’s easy to guess that she knows her job and her characters quite well.
– The dialogues are written by Farhan Akhtar and he has saved the best lines and the punches for himself.
– For a change, even Katrina Kaif acts. In other words, she has been used smartly – smile, show your charm and do the kiss!You cant compare her acting talent with tomatoes this time!
– There is too much of Spain in the film. Almost like a tourism film. Who goes to tourist spots on a bachelor trip? Tomato bhi le lo, bull hi dauda lo, upar se kud ja, paani me doob jao! Aha, where are the raging hormones? Oops, its 30+ coming of age. Imagine going to Bangkok (according to our budget) and visiting the Buddhist temples, right?
– The use of poetry through voiceover is a smart move and it blends in so well with the mood of the film. But such juveline stuff! The writing completely defeats the purpose. Impossible to believe that it’s written by Javed Akhtar. Always rate his poetry much better than his lyrics but this was quite shocking.
– Dear Shankar-Ehsaan-Loy, it’s time for you to take a road trip and discover some new sounds. From Dil Chahta Hai, where every song stayed with us, to Zindagi Na Milegi Dobara, where all you remember is Senorita, that’s quite a downhill journey. Now go and take a break. Spare us!
– Its feels quite long, takes it own time to unfold and things fall into place easily. No major twists or turns. Aha, the designer issues!
– And finally a bollywood heroine who travels quite a distance just for the liplock. Gimme more!
– After Luck By Chance, there is too much expectations from Zoya Akhtar. Go easy on that E factor and it will come as a breeze of fresh air.
( PS – Did she really shoot the film in Spain? Pedro Almodovar made me believe that Spain is full of transexuals. ZNMD had none.)
Katha Centre for Film Studies and the India Foundation for the Arts in association with the Chhatrapati Shivaji Maharaj Vastu Sangrahlaya (formerly Prince of Wales Museum) invites young cinephiles, film scholars, artists and students for its second Workshop on Film Curatorial Practices.
FILM CURATING is concerned with a more evolved understanding of the moving image. Film and video are artistic mediums – much like what canvas and brush are to a painter. Today, both filmmakers and visual artists work increasingly with the medium of the moving image to make their art works. In addition, museums and galleries are increasingly exhibiting moving image work – experimental film and installation; and video art and video installation. It is this artistic and aesthetic understanding of the moving image that the Katha Centre for Film Studies is looking to develop through its workshop on Film Curatorial Practice
The WORKSHOP aims to equip young film enthusiasts with specialized knowledge about and around the idea of Film Curation. It will also give them an opportunity to interact with established practioners and academicians, and engage with them in a cinematic discourse centered on film curation.
WORKSHOP : This workshop series is a part of a four-year Curatorship Programme conceptualized by India Foundation for the Arts (IFA) in collaboration with select institutions from across the country. This Curatorship Programme is funded by the Jamsetji Tata Trust.
The workshop will create a platform to represent, think and debate the following:
· Curatorial research methods
· Curatorial writing
· Practical aspects of curation
· Context specific curation
· Different ways of engaging with audiences
· Critical understandings on the history of film criticism and curation
– For the second workshop, Katha Centre for Film Studies has engaged distinguished practioners, filmmakers, curators and academicians – Madhusree Dutta, Gargi Sen, Bina Paul, Amar Kanwar, Shai Heredia and Moinak Biswas.
DATES : Last date for receiving Applications: 10th August, 2011. Workshop: 22nd-26th August, 2011
VENUE : Chhatrapati Shivaji Maharaj Vastu Sangrahlaya, Mumbai
HOW TO APPLY: You can send : 1) A copy of your latest Resume 2) The application form to
EMAIL: katha.film@gmail.com with “WFCP 2011” in the subject line
or By POST: Katha Centre for Film Studies, A102, Sumeru, MHADA. SVP Nagar, Andheri West. Mumbai 400 053
FEES : For the 5-day workshop, there is NO registration fee. During the workshop, breakfast and lunch shall be provided. Travel expenses and stay of participants coming from cities other than Mumbai would be taken care of by Katha Centre for Film Studies.
– Write to katha.film@gmail.com for the application form.
– To know more about Katha Centre of Film Studies, click here. And to know more about IFA’s Curatorship Programme, click here.
– For any queries, you can contact them here on FB or contact Svetlana on Twitter.
Like in Hollywood, this is the year of 2,3,4 in Bollywood too. Murder 2 is still going strong at the box office, and now the first trailer of Don 2 is out. And it seems D2 is going to be exactly like the earlier Don. The film is directed by Farhan Akhtar and stars Shah Rukh Khan, Priyanka Chopra, Lara Dutta, Kunal Kapoor and Boman Irani.
Tigmanshu Dhulia is back, again. And we are again hoping that this time he will be back as the good ol’ Dhulia. Not the one who directed Shaagird. Even as his last film Paan Singh Tomar is yet to get a theatrical release, trailer of his new film Saheb Biwi Aur Gangster is out. It stars Jimmy Shergill, Randeep Hooda and Mahie Gill.
Remember Parvin Dabas? Yes, the actor is now director. And remember Preeti Jhangiani? She is now producer, and they are married. Here’s the trailer of directorial debut of Dabas, Sahi Dhandhe Galat Bande.
Sometimes it’s quite a difficult task to find the right word to describe a person. And when i can’t rely on cusstionary any more, i take the easy way out. Coin a new term. So we have dodos, then we have ch#@ths, and when someone is beyong all these, I have coined a new term for them – Dodooth (D+C). If you click here and read this column called Reflections, am sure you will agree with my idea of Dodoothness.
Nothing is original, this logic is as old as Adam & Eve. And that doesn’t that mean there is nothing called copyright and IP. Strange that we have so much news space in this country that all kind of garbage is dumped in the name of journalism. And even in this weird dodoothness, it’s hard to believe that Ram Sampath managed to win a copyright case against Rakesh Roshan. Thank God, the Tutejas are not in the judiciary system of this country.
And here is @diaporesis‘ reply to Mr Tuteja’s Reflections.
Mr Tuteja, your article is entertaining. Can I sell it as mine?
Sometime yesterday, Bollywood Hungama, the trade-portal masquerading as review site, happened to accidentally publish a page from Joginder Tuteja’s personal diary. In it, Mr Tuteja, coming to terms with what is, presumably, a speech disorder, explains at length how he has difficulty pronouncing words such as चुग्येओग्जा(please leave eyjafjallajokull for greater gods) . Even though the piece appears to be a legitimate article meant for the general public’s consumption, do not be fooled. It is quite clear that the man is writing to himself.
Here’s an example of his pitiable rant to his Dear Diary:
“Ok, now think of a film called The Chaser, the literal English translation (I guess) for the Korean word on which you just gave up. Yeah, The Chaser; not Chase, Chastity or Chatur. It is plain and simple – The Chaser. Can’t think of any, right? Well, why don’t you try hard.”
As you can clearly see, our delusional diary-writer is addressing himself. He has never heard of The Chaser and conveniently presumes that the rest of the world is as ignorant as he is.
Without going into the details of why such rants (because the entire piece is, overall, a rant and not argument) make no sense, I pose a simple piece of logic before you: if nobody has heard of the movie (extending his logic), how did the comparisons arise in the first place?
At a slight tangent, my gripe with Mr Tuteja’s argumentation is the way in which he cannot produce reasonable arguments to even convince himself. Through most of the piece, Mr Tuteja’s words flail like a broken pieces of a raft on a stormy ocean, alternately despairing and alternately cursing the sea for being so watery. For example, in his piece he says that he’s still trying to locate a certain DVD therefore others couldn’t have seen that movie either. In the next few lines he mentions how piracy is rampant. Um, Mr Tuteja suffers from a joining-the-dots disability as well?
He does not stop at his pitiable laments about his inability to pronounce a certain word. He goes on to prove that he’s unable to employ the faculties of logic and reason as well.
I need not go about arguing against Mr Tuteja’s endorsement of plagiarism. But I do have three serious charges against him: 1) He seems to think it’s fine to copy works of art as long as it’s done entertainingly. I’d love to see his reply to the title of this piece as far this point is concerned. 2) He totally discounts the fact that original creations, however raw, are always more rewarding for the masses and the makers. Ask Anurag Kashyap or Dibakar Banerjee and their fans for evidence. 3) He claims that because he isn’t the thief, he’ll gladly visit a thief’s home and admire the valuable pieces or art etc he has stolen. I, for one, do not even want to provide further arguments about why this is such an asinine argument. Moreover, he goes on to say 99% of us think like him. Really, 99%? Where does he get such fantastic numbers from?
In his rather dreamy rant, he also claims that QT said Kaante was better than Reservoir Dogs. I will save my breath and point you to this piece that Mr Tuteja presumably refers to and challenge you to prove his claim correct.
Dear Mr Tuteja, your arguments are bullshit anyway. You get paid to write about movies that earn lots of money. Not movies per se. There’s a huge difference. Understand that. Appreciate the work of other knowledgeable, hard-working critics who, in India, undergo unfair trials by fire when they praise cinema that is meaningful, honest and well-made rather than crass entertainers that you promote. We can agree to disagree about what cinema should be. But at least, please, get your facts right. Especially when you’re addressing yourself, learn to be honest.
The last point I wish to make is about movies that deserve to be seen but perhaps aren’t seen because viewers assume that since the remakes were shitty, so were the originals. This is far from the truth. Take Oldboy as an example. Zinda was, at times, a frame by frame copy of the movie. But it was an exceedingly passable piece of cinema. Oldboy, on the other hand, is a rivetting and nerve-wracking film that shakes you by the guts and stuns you into shocked silence: an accepted masterpiece of modern Asian cinema. I don’t mind our filmmakers looking for “inspiration”; my problem is that they don’t accept that they looked for inspiration. And, Mr Tuteja, there’s a reason why “inspiration” and “plagiarism” are two different words. Let me point you to dictionary.com if you lack the usual Oxford at home.
As for you, dear reader, spare yourselves the pain of anger. Be kind to him. He knows not what he writes.
And Mr Tuteja, henceforth, please keep your diary private. We cannot be bothered by you being dishonest to even yourself.
(I really shouldn’t add a disclaimer to this piece, but here goes: My own views, my impressions, my right to express them. Not intended to slander etc etc.)
(PS1 – Dear Mr Tuteja, you don’t need a dvd to watch Miracle Worker. There is popular site called youtube.com. Little googling and youtubing doesn’t harm anyone. So click on the play button and enjoy.
(PS2 – This is not the first time that Mr Tuteja has made it to our blog. Click here to read about his other credential. As they say, honhaar birwaan ke hoth cheeknay paat.)
The first trailer of Pankaj Kapur’s director debut Mausam is out. The film stars Shahid Kapoor and Sonam Kapoor in the lead and promises to be a “timeless journey of love”.
Yashraj Films is ready with a new film – Mere Brother Ki Dulhan. The film stars Imran Khan, Katrina Kaif, Ali Zafar and is directed by Ali Abbas Zafar. Strangely similar stories have been explored in Dan In Real Life and Onir’s Sorry Bhai.
Experimental, obscure, tangential, inaccessible and over indulgent. These are just some of the adjectives commonly used to define the cinema of Mani Kaul. If you ever tried watching (or watched) any of Kaul’s film, you will understand what these adjectives mean. And if you haven’t, then you must give it a try. Because if artists don’t indulge, experiment and go off tangent, then who will? The result might be inaccessible for the majority but when has the majority ever voted for anything that’s cult.
And the bigger problem is to find the resources to figure out what Kaul tried to say through his cinema. Thanks to our lack of interest in any kind of artistic documentation, we have access to best of cinema from across the world, but we don’t know where to look for the desi ones. So, in this post we are putting all the links related to Mani Kaul. If you have any, do comment or let us know.
The Films of Mani Kaul by Just Another Film Buff. Quite elaborate post that covers Uski Roti, Duvidha, Satah Se Uthata Aadmi, Dhrupad, Siddheshwari, Nazar, Naukar Ki Kameez and Een Aaps Regenjas (A Monkey’s Raincoat).
Starring Mahie Gill and Deepak Dobriyal, the film is inspired by the Maria Susairah-Neeraj Grover case. Directed by Ram Gopal Varma, the film is “cinematographed and edited by FX School”. Can someone please explain this to us?