Archive for the ‘cinema’ Category

Aamir Ko Darr Kyon Lagta Hai ?

Posted: November 20, 2010 by moifightclub in bollywood, cinema, Special
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And so Raja Sen, the movie critic with Rediff, wrote this column for Mumbai Mirror last wednesday. Some of us liked it, thought it made sense, but ButtUpSajid (the self-proclaimed alter-ego of the biggest fartmaker of our time Sajid Khan) felt otherwise and since we believe in giving space to every fart that matters, here is ButtUpSajid’s take on Raja Sen’s column, his debut post. The piece is in two pfarts, smell the first one, he is busy cooking the second one.

“Mujhe yeh dar lagta hai ki Dhobi Ghat shaayad audiences ko — matlab jo masses hai — unko pasand nahin aayegi. Kyonki yeh bahut hi fine film hai. Matlab jin logon ko cinema ki samajh hai, jo log sensitive hai, dil se jo jazbaati log hain, unke liye ye film hai.”

“I fear that maybe audiences — the masses — won’t like Dhobi Ghat. Because it’s a very fine film. I mean people who have knowledge of cinema, who are sensitive, who think from the heart and are emotional, this film is for them.”

An innocuous quote, which generally wouldn’t make much difference to anyone. But this statement comes from Aamir Khan, so I guess it must be fussed over, eh? Clearly, our friend Raja Sen thought so, in his column in this week’s Mumbai Mirror.

A thoroughly silly piece focusing more on indulgent wordplay than logic, the column seriously pissed me off. I guess it was meant to elicit some reaction, considering how it played to the gallery, but what was appalling was not its hare-brained logic, but how much it stank of pure hypocrisy at every level. More on that later.

Let’s look at what Aamir actually said first. Granted, it wasn’t say, the smartest choice of words. He struggled to put across what he wanted to say, especially in Hindi: that Dhobi Ghat is not remotely mainstream stuff, its not even the kind of stuff we generally tag as ‘offbeat’ cinema: which encompasses everything from Taare Zameen Par to A Wednesday to (gulp) even a My Name Is Khan sometimes- all pretty mainstream for my money. Its format and treatment- from what one hears of it, and from what one sees in the lovely, just-released trailer- is clearly not mainstream ‘entertainment’- at least not in the Bollywood sense. By her own admission, Kiran Rao’s style is more attuned to art-house world cinema, and that shows in the first look of the film- a low-key feel, grainy, intimate visuals, a quaint, tender approach- and I’m glad to note: a distinct (woman’s) touch.

It’s a low-budget film that would normally have been finding a hard time creating buzz back home, getting a little publicity through fest-coverage perhaps. What’s made all the difference is one man: Aamir Khan, who hasn’t just produced Dhobi Ghat, but also features in it as a major character. The problem is rare: that of too much buzz, more than the makers actually want. It’s a legitimate concern, and that explains the nervousness on Aamir’s part, considering his matinee-idol status. For the first time, the widely acknowledged marketing whiz has to actually under-sell a film. Simply because- as I heard him say a few months back- ‘It’s not (a film) for everyone’.

Brand Aamir is a fascinating thing, an image cultivated with smart, calculated risk-taking, admirable foresight and a commendable consistency in churning out films with a certain amount of substance to them. Aamir has- in most of his films- maintained a certain standard of quality throughout his body of work, especially post the epoch-making Lagaan, which he courageously backed and produced, creating a watershed moment in Bollywood cinema. In the process, he also developed this image of an ‘intellectual’, thinking actor, or as they call him- the ‘perfectionist’. This could be attributed to his playing ‘hard-to-get’ with his audience by being super-selective with his work and also perhaps through his involvement with a cinema that has some social relevance- or at least seems to. (While it may seem otherwise, we really are an audience that loves being preached to.)

To be honest, of the Khans- Aamir doesn’t come close to say, a Shah Rukh or Salman when it comes to charisma or ‘star quality’- and Shah Rukh comes across as way more articulate and well read- I can’t imagine him, for example- making a statement as clumsy as the one quoted above. But where Aamir has stolen a march over them is in his superb choice of films. None of his films have been particularly risky. (Except, perhaps Lagaan, considering the time when it released- though then again- wasn’t it, after all- a formulaic, classic feel-good Hindi film?)

But Aamir’s had the smarts to recognize potential in films like Rang De Basanti and Taare Zameen Par– films that our other top heroes would consider dicey- and back them with gusto. At the same time, he’s also shrewdly thrown in a Fanaa and Ghajini in the mix. Even as a producer, he never jumped on the ‘big-movie’ bandwagon after Lagaan and launched say, a couple of monster-budgeted biggies featuring himself. Contrast this with Shah Rukh Khan, who, for all his shrewdness couldn’t resist starring in even a Billu, a small film turned into a mangled mess of set-pieces and item-songs.

Aamir Khan stands for consistency, because his steady body of work defines his stardom more than his persona. The average viewer walks into an Aamir Khan film (produced by/ starring him), knowing for sure that he/she’ll get ‘sensible’, quality entertainment. That belief is so strong that a shamelessly crowd-pleasing 3 Idiots or even a crude potboiler like Ghajini – is often passed off by a large number of people as serious, ‘cerebral’ cinema. It’s the Aamir stamp at work. He has miraculously managed to condition his audience to take his films seriously. We’ll still buy a forty-plus actor as a college student without much fuss-… because it’s Aamir. And there’s nothing that Ghajini-kant do, right?

(I’ll get back to where I started- the column. And Dhobi Ghat. To be continued.)

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Well, this part was more about Brand Aamir and his cinema, ButtUpSajid has promised that the next one will be on Raja’s column. ButtUpSajid ke fart ki kasam!

Pankaj Advani RIP

Posted: November 12, 2010 by moifightclub in cinema, RIP
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There are two kinds of films. Those which get theatrical release, and those which remain unreleased. Some die natural death but the good ones always manage to surive. From one screening to another, one daaru party discussion to another and soon become underground cult hit. I first heard about Urf Professor during one such bakchodi session. And those with cinema in their DNA, always get to know about those hush-hush screenings. But I missed Urf Professor every time. By then, kew everything about the film. Knew everything about its director Pankaj Advani too. But never got to meet him or see the film. There was also Sunday, Cape Karma and more.

And he was also the co-writer of one of my all time favourite Shah Rukh Khan film Kabhi Haan Kabhi Naa. And the brain behind series of popular shorts called Toofan TV on Channel V. And those who knew him, always had great things to say about Pankaj. Those who matter, whose cinema matters to you and who understand cinema. Finally got to know him during Sankat City.

Last year, his film (Sankat City) released. A madcap comedy, complete roller coaster ride and full of weird characters. Do watch. Few sms exchanges, few calls here and there, and met him few times. Never got a chance to sit down with him and discuss life beyond cinema.  He was always the same, in casuals, wearing his smile.

Remember watching Sankat City at its premiere at PVR Juhu. The man wasn’t dressed for the premiere either, was in casuals again, but was wearing his same benign smile, calm and composed. Like always.  Met him for the first time there. Next few days, remember exchanging few smses, the good, and the bad, and the fate of the film. He seemed like one of those who knew how to handle it all. Shoestring budget, no publicity, no big face on the poster, no clues, no interest from those who matter, but you read his posts here and you know that the man can survive anything with little bit of wry humour and his now famous The Monk With Wings. Bakchodi is BIUTIFUL too.

Got to know about him today morning, through a sms from a friend. Could not believe it. But bad news has a habit of turning out to be  true always. Sad. Scary. Shocking. Still can’t believe. At 45, is this the age to say goodbye ? But then, who knows, may be the Monk gave him wings for some another reason. We will never know.

Remember the quote which he put in one of his posts on Sankat City – The city is not a concrete jungle, it is a human zoo.

And you Sirji, are out of it.

RIP.

Will miss you.

Mumbai Film Festival 2010 – The good, the bad, the ugly and the BIUTIFUL

Posted: November 2, 2010 by moifightclub in cinema, film, Film Festival, Movie Recco
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Screeny reports. Lil late but our dear Screeny was busy with his writing assignments. So, here it is….read on…see what you missed, what you must-watch and more. Key words, as always, in BOLD.

Something about Commonwealth games and ‘international’ events hosted in India, that leaves a very ‘epic fail’ taste or after taste in your mouth. It’s like the perfect wedding – that is a myth. Or a perfect film. Almost never happens. Somebody someone something has to screw up. And when it happens the first time, you don’t think about it, but before you know the screw ups are outrageously glaring and difficult to ignore.

Don’t get me started on the whole delegate pass info. Turns out the delegate registration was ‘outsourced’ to someone else – so the people at the registration point to the volunteers who point to the info book (or schedule if you please) which is not the bible of all questions. So we get pointed back to the counter. Lovely cache-22 circle. But that’s ok I guess.

Opening Day

Was restricted to ‘invitees only’. But being in the good books of some friends – got my pass and managed to scrape in. Unfair – accepted. Saw some of the lesser known filmmakers waiting outside for a pass. They missed the opening ceremony and the screening of The Social Network.

The ceremony was emceed by the gorgeous bimbettes Minisha Laamba & Prachi Desai (both I think were roped in thanks to the BIG Pictures connection – Well done Abba & Rock On) . It was hilarious to see Prachi Desai quote Kafka in her speech (I wish I had a camera). They screwed up the opening speeches & intro to the jury – were not aware of which jury members were present. And there was an insult to the ‘spirit of Mumbai’ by the TDLLC or whatever dance troupe who put up a staggeringly boring 20 minute long skit (WTF if you will). Read here for more fauxpas.

The Social Network – Sound of Chandan theater was a little screwed up –at times I wished the film had subtitles – the lines are soooo fast and at times tough to follow – but had read the unput-downable script and I could kind of follow the action. You feel for the lead and at times I was reminded of Aviator/Guru but still, it is a pretty good film to be made out of such a ‘talk-heavy’ film. I loved it.

Day 1

There Are Things You Don’t Know – the premise looks like an Iranian Taxi driver. Was nothing much in the film to write about. Slow pace (nice) but doesn’t lead to anything. Avoid.

Poetry – Didn’t see it. But looked like a Korean Senti Penti film. Those who saw it liked it. And apparently so did Manirathnam & Suhasini (jury member – she mentioned the film on the opening day). So, check it out.

Mama Gogo – He’s a ‘art’ filmmaker in Iceland – his films flop and there is little money. His mother is suffering from Alzheimer’s and his sisters don’t get along with the mom. A rather moving tale from Iceland. Won an award at MAMI too.

Howl – One of the most imaginative films I saw at the festival. Milk meets Ismat-Manto Haazir hain (court case on an artist for literary obscenity) meets animation sketches. Highly highly recommended. Bizarrely creative & engrossing.

Boiling Point – My first intro to Takashi Kitano – How how how did I miss his films up till now. Brilliant brilliant – have fallen in love with his films. Getting hold of the rest. Now I know where the famous dead pan actors’ cut aways in Satya & Company have come from.

Other good film recco – Budrus, Sway, Twice a woman – I didn’t see them but friends who did, were praising the same.

Day –  2

Undertow – Peruvian film selected for Oscars 2010. The beaches, small village community, the music, paintings, the traditions. Better than Brokeback Mountain. Sensitive film with a spirit (no pun intended).

If I want to whistle I whistle – another Oscar nominee Romanian film. Juveniles in prison, Dog day afternoon sort of situation. Excellent acting by the lead. Must watch.

RETRATOS EN UN MAR DE MENTIRAS – brilliant road coming of the age film – liberal doses of black humor sprinkled in towards the end. Liked it a lot. Recco.

Semshook – an Indian Indie film directed by Siddarth kumar and written by Sudip Sharma – this film traces the journey of a young Tibetan born and brought up in india going to his ‘home’ in Tibet – the people he meets on the way – the poetry – the bitter sweet experiences – Into the wild – lovely visuals – somewhat long but the heart in the right place. Was somewhat disappointed to see such a low turnout from the ‘filmy-bollywoood’ crowd in support of this film. Do catch this film whenever it plays at the next film fest. Highly recommended.

R – Another superbly realistic prison drama shot on Red Camera – tracing the journey of a inmate from his inception in the jail – to his first ‘crime’ – to his joining the gang – to the eventual sad conclusion – very different from Prophet. Bound to have comparisons but still, the films stands on its own. Only the hero was a professional actor and the rest all were ex-convicts. The dialogue improvised and the film scripted with much research and honesty. Loved it. It also won a MAMI award.

BIUTIFUL – There was a near stampede for this film. Luckily they screened it the following day at two screens and I could catch it. Reminded me of Kamal Hassan’s Mahandi albeit in a very different way. Javier Bardem & Inniratu are God.

Makes you cry at times. Some scenes are devastatingly emotional, guilt laden spiralling journeying into depths of depravity. Watch it – Oh god, what a film! Watch it – Highly recco.

Other good reccos – Honey(bal), White Ribbon, October, Bright Star

Day – 3

A Screaming Man – A father-son drama – father forced to give his pool attendant job to his son thanks to recession. The loneliness of the father, the envy/competition, the poor family, the civil war in the country, the father’s journey to try and set things right, the conclusion. An extremely sensitive drama film which has a stupendous performance by the lead actor. Just felt going and hugging my father after this film. Lovely lovely watch – highly reccomended.

Good Night Good Morning – another indie film, made by journo turned filmmaker sudish kamath – a guy meeting a girl at a bar and calling her up on a drive with friends. She sitting at a hotel waiting for her transit flight the next morning – the 8 stages of romance. Some good writing and very good performances by the lead & ensemble – but the film somehow didn’t nail it for me.

Outrage – Takeshi kitano again. Gangster Characters almost in a yogic like state – long takes in which nothing seems to be happening and suddenly something/someone perks up the frame. The violence, the humor, the almost Zen like background score, and the inter gang rivalry- the ‘rumpus’. Superb. Watch it and please burn me a copy.

Catterpillar – A perversely morbid war drama sexual film which could have been so much better but for the director’s fetish with sex. Avoid.

Other good reccos which I couldn’t catch but heard good things about – Lola, Departures, The Professor and His Beloved Equation

Day – 4

Sweet evil – Starts out like a film about a girl from orphanage running away – and finding shelter at a judge’s house. (For a minute I was reminded of the Neetu singh, Jeetendra, Shree ram lagoo starrer Chorni – laugh all you may but am serious) Hoping that the judge (who doesn’t have children of his own) will adopt her – but the film goes into the Lolita zone – and then into something purely evil. Makes you wanna kill the bitch. A very interesting film. Recco.

Khandhar – Mrinal Sen, Nasseruddin shah, pankaj kapoor, shabana azmi, a witty annu kapoor. Need we say more ? Watch it. Just a BIG note of discord here – The film begins with a clip of the original print & the restored print, side by side – both frames occupying the screen – with the restored print clip having a watermark BIG Media works (or something of the sort) – Fair enough. Good job done. But MOTHER*^%*$% A&% the clip goes onto play the whole 3-4 scenes from the film – running comfortably for not 30 seconds, 1 minute, 2 minutes but SEVEN FRIGGIN MINUTES. WTF!!!

People come to see the film and the film begins with a lovely 7 minute self congratulatory message of how great BIG Pictures is and how great a job they have done with the films restoration – all for SEVEN MINUTES BEFORE THE OPENING CREDITS.

Do they really think us audiences are cunts ? I mean if you wanna do PR – fair enough – do it for a minute – but friggin 7 minutes ???? Many people walked out of the screening. There were abuses being hurled at the screen at such an insult to the audience and indeed an insult to the filmmaker himself.

We are here to see the film sir, not your friggin advertisement. Such a self congratulatory –self serving attitude-gall. Just goes onto show there is a reason why Kites, Raavan, Karzz, Do Knot Disturb, Kall kisne dekha hai and many such fucked up films flopped big time. Probably because of the self serving-know it all attitude.

My Mother Is A Whore – Superbly deviant film, an instance here and there reminded me of the acclaimed Tamil hit Paruthiveeran. Shot on DV – low budget – sad and real. Some moments in the film are truly seen to be believed. Though at times may be a little too much deviance may be. But loved the actor-writer-director. More power to him. Highly reccomended.

More recco – The Killer Queen, Aftershock

Day 5 & 6

Couldn’t see many films due to some errands.

Dooman river – Has a lot of subtext and politics to it. A decent watch – North Korea Soth korea border. Not in the league of Joint Security Area but still.

Crows – by takashi mike – student gang war set in school. Pretty ‘commercial’ film with even a rock song to boot. Enjoyable and unlike Audition & Itchi, not so gory.

Harud – Another film I was really looking forward to, but was kind of disappointed. Brilliant cinematography, the lead says little and is almost martin-sheen-uesque (Apocalypse now). The film captures the everyday nuances of the strife ridden Kashmir. But sadly, that’s what the film is limited to. An everyday life of a kashmiri – almost a documentary or a Dardenne-ish film with little importance given to the ‘story’ or a dramatic point.

Yes, cinema is about reality but not just that. I really wish there was a threadbare narrative/story/central drama in the film – or if there was one, may be a little accentuated may be. That minor caveat apart – the film is pretty good. Kudos to Aamir Bashir & Shankar Raman. But can’t watch it more than once.

Other recco – Of Gods & Men, I am Kalam, Somewhere (dissappointing???), Certified copy. Also heard good things about The Virgin goat, A stone’s throw away, The Untitled Kartik Krishnan Project and Mike Leigh’s Another Year.

The Forums – Skipped most of the forums but attended the one on screenwriting. Anjum Rajabali, Sudhir Mishra, Shama Zaidi & Sajid Khan (wooooooooooohhhhh). Sudhir Mishra & Anjum were trying to make the forum as civil as possible with questions being hurled left-right-center at Sajid Khan, who claimed he had ‘cracked’ the formula of what works with the audience. He believes in his cinema because that is what the audience wants, and he will serve it up to them.

Films like Satya, LSD, Tere Bin laden are ‘festival films’, Sajid said patronizingly – “Baatein cinema ki karte hain but spotboy ko dene ke liye paisey nahi hain”. Manish Gupta remarked that the reason not many screenwriters are left because all of them become directors out of frustration – seeing that their films are not made they wanted them to be – Anees Bazmee, Rumi jaffrey, anurag kashyap, abbas tyrewala, myself, Vikramaditya motwane. Sajid replied – 90% of the writer-director’s you have mentioned have made FLOP films. Well well well…. The very hot & talented actress Smriti Mishra asked some question which was only vaguely related to screenwriting and ended with “I’m an amazing actress”. My my … Also heard that people started teaching filmmaking to jury member Jane Campion, in her master class session. Boy, I missed that too but I can trust us audiences to ask the most stupid, rambling questions.

Closing Ceremony – Began with usual line up for passes & entry. Saw Ramesh Sippy, Ashutosh Gowarikar, Vidhu Vinod Chopra, Sudhir Mishra, Shyam Benegal, the jury members & Oliver Stone. The awards were announced and except for the dimensions short films, we (Indians) didn’t win any award. The full winner list is here.

Some of the awards were even presented by giants like Akbar Khan, Inder Kumar, Kiran Juneja & Hriahita Bhatt. Wow !!! And none of these people had turned up to watch a single film – Social Network or Biutiful, let alone any of the ‘new wave’/world cinema/Indian films.

Apart from the usual fauxpas & the mis-organisation (which I must admit hosts Fardeen Khan & Raima sen tried their best to cover up and did an ok job at – better than the two ladies at the opening ceremony), the highpoint of the day was the rambling speech by Manoj Kumar (Lifetime Achievement Award winner) and the tribute to him by Mr Shut-up errr Vidhu Vinod Chopra.

Manoj Kumar referred to Oliver Stone as “I wanted to duet with the Rock“. More priceless quotes were delivered like – “Our cameras are better than Cannon. Cameras create, Canon destroys”. We didn’t know where to look.

Vidhu Vinod Chopra went a step further, talking about his short film (either Murder at monkey hill or an encounter with faces, I don’t remember which one) which Manoj Kumar had seen saw and had remarked “It is rare that I’m moved by a film. Your film moved me” to a young Vidhu Vinod Chopra.

Of course, the minute Manoj Kumar got the award and stepped down (and before Olive Stone could be invited on stage for his award) Mr Chopra walked out of the ceremony. I don’t know why.

The after party – was equally mis managed. Several (indian) indie filmakers were asked for a pass at the party whereas people like Aamir Bashir, the ‘phoren goras’, ‘chinkis’ & the more ‘famous’ ones weren’t asked. Apparently BIG pictures goes by rules, which are bent for the ‘white’ people, journalists, Bollywood stars, but not for the rest. And thanks to their lovely mismanagement, the filmmaker whose FRIGGIN FILM PLAYED AT MAMI was not given a pass despite him asking for it days in advance.

The one night of fame, meeting people and knowing how his film was and what the fraternity thought of his film was denied to him. Thankfully, he was saved by some friends who had obtained an extra pass. Though this small incident goes on to show what hara-kiri was happening.

The pandemoniums apart, the films showed at the festival were truly superb and superior. Wish the event was better organized though.

THE END.

Movie Recco : Rian Johnson’s Brick because whatever it’s about, they act smarter than they look and drop it too

Posted: October 16, 2010 by moifightclub in cinema, Movie Recco
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If you thought high schools are for musicals and vampires, and you like your high school that way, then please move to the next post. Because Rian Johnson’s Brick is nothing like that. The header of the post is actually a dialogue from the film. And like that line, in the film they talk cool and they act cool, without going Slo-Mo. And sometimes, its even difficult to follow what the characters are saying.

It starts with a dead body and a man blankly staring at the body. The text appears on screen – Two Days Previous. The story rewinds, telling us what, how and why it happened, and comes back to the present. Add detectives, femme fatale, dons and drugs – the perfect  noir combo. Though its a minimalistic setting but the large and open spaces adds a superb eerie feel to the film, adding that perfect mood for this detective drama.  Joseph Gordon-Levitt is in almost every frame of the film and its easy to spot why he climbed the stairs so fastly with 500 Days of Summer & Inception.

According to IMDB.com, here is the synopsis of the film…

A teenage loner pushes his way into the underworld of a high school crime ring to investigate the disappearance of his ex-girlfriend.

And if directorial debuts don’t have interesting tales behind the making, then half the fun is gone. So,  as it happens, nobody was willing to put money in this film. Rian got it from family and friends, shot it in just 20 days in his hometown and the special effects were done in-camera. And  when Coen Brothers are the inspiration for the filmmaker, one thing is for sure – cool quotient is added in dollops. And we aren’t complaining!

Watch it for its perfect mood setting with minimalistic approach and for a noirish story well told. The film was screened at the Sundance Film Festival in 2005 and bagged the Special Jury Prize. Focus Features picked it during the fest and gave it a theatrical release.

First Look : Sudhir Mishra’s Yeh Saali Zindagi (Trailer)

Posted: October 16, 2010 by moifightclub in bollywood, cast & crew, cinema, first look, songs & videos, Trailer
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Aha, finally its here. The trailer of Sudhir Mishra’s new film Yeh Saali Zindagi is out. It stars Irfan Khan, Chitrangada Singh, Arunoday Singh, Aditi Rao Hydari ( Woohoo – Remember the best thing about Delhi 6 ? ), Sourabh Shukla, Sushant Singh and Yashpal Sharma. It seems to be in the zone of Mishra’s earlier film Is Raat Ki Subah Nahi. The trailer looks kickass!

Oscar Race for Best Foreign Language Film – Peepli Live to compete with 64 films

Posted: October 14, 2010 by moifightclub in Awards, cinema, News
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And thats not all.

Out of the 65 films, some are festival favourites and winners too. There is Alejandro González Iñárritu’s Biutiful (Mexico), Xavier Beauvois’s Of Gods and Men (France – Grand Prix at 2010 Cannes), Apichatpong Weerathesakul’s Uncle Boonmee Can Recall His Past Lives (Thailand – Palm d’Or Cannes 2010), Susanne Bier’s In a Better World (Denmark), Denis Villeneuve’s Incendies Canada), Danis Tanovic’s Circus Columbia (Bosnia and Herzegovina), Florin Serban’s If I Want to Whistle, I Whistle ( Silver Bear at Berline 2010), Semih Kaplanoglu’s Bal ( golden Bear at Berlin 2010), and Oliver Schmitz’s “Life, Above All” (South Africa).

Here is the complete list…

Albania – East, West, East, directed by Gjergj Xhuvani

Algeria – Outside the Law, directed by Rachid Bouchareb

Argentina – Carancho, Pablo Trapero

Austria – La Pivellina, directed by Tizza Covi & Rainer Frimmel

Azerbaijan – Precinct, directed by Ilgar Safat

Bangladesh – Third Person Singular Number, directed by Mostofa Sarwar Farooki

Belgium – Illegal, directed by Olivier Masset-Depasse

Bosnia and Herzegovina – Cirkus Columbia, directed by Danis Tanovic

Brazil – Lula, o filho do Brasil, directed by Fábio Barreto

Bulgaria – Eastern Plays, directed by Kamen Kalev

Canada – Incendies, directed by Denis Villeneuve

Chile – The Life of Fish, directed by Matías Bize

China – Aftershock, directed by Feng Xiaogang

Colombia – Crab Trap, directed by Oscar Ruíz Navia

Costa Rica – Of Love and Other Demons, directed by Hilda Hidalgo

Croatia – The Blacks, directed by Goran Devic and Zvonimir Juric

Czech Republic – Kawasaki’s Rose, directed by Jan Hrebejk

Denmark – In a Better World, directed by Susanne Bier

Egypt – Messages From The Sea, directed by Daoud Abdel Sayed

Estonia – The Temptation of St. Tony, directed by Veiko Öunpuu

Ethiopia – The Athlete, directed by Davey Frankel and Rasselas Lakew

Finland – Steam of Life, directed by Joonas Berghail & Mika Hotakainen

France – Of Gods and Men, directed by Xavier Beauvois

Georgia – Street Days, directed Levan Koguashvili

Germany – When We Leave, directed by Feo Aladag

Greece – Dogtooth, directed by Yorgos Lanthimos

Greenland – Nuummioq, directed by Torben Bech and Otto Rosing

Hong Kong – Echoes of the Rainbow, directed by Alex Law

Hungary – Bibliteque Pascal, directed by Szabolcs Hajdu

Iceland – Mamma Gógó, directed by Friðrik Þór Friðriksson

India – Peepli Live, directed by Anusha Rizvi

Indonesia – How Funny (This Country Is), directed by Deddy Mizwar

Iran – Farewell Baghdad, directed by Mehdi Naderi

Iraq – Son of Babylon, directed by Mohamed Al-Daradji

Italy – The First Beautiful Thing, directed by Paolo Virzì

Israel – The Human Resources Manager, directed by Eran Riklis

Japan – Confessions, directed by Tetsuya Nakashima

Kazakhstan – Strayed, directed by Akan Satayev

Latvia – Hong Kong Confidential, directed by Maris Martinsons

Macedonia – Mothers, directed by Milcho Manchevski

Mexico – Biutiful, directed by Alejandro González Iñárritu

Netherlands – Tirza, directed by Rudolph van den Berg

Nicaragua – Le Yuma, directed by Florence Jaugey

Norway – Angel, directed by Margreth Olin

Peru – Undertow, directed by Javier Fuentes-León

Philippines – Noy, directed by Dondon Santos

Poland – All That I Love, directed by Jacek Borcuch

Portugal – To Die Like A Man, directed by João Pedro Rodrigues

Puerto Rico – Miente, directed by Rafi Mercado

Romania – If I Want to Whistle…I Whistle, directed by Florin Serban

Russia – The Edge, directed by Aleksei Uchitel

Serbia – Besa, directed by Srdjan Karanovic

Slovakia – The Border, directed by Jaroslav Vojtek

Slovenia – 9:06, directed by Igor Sterk

South Africa – Life, Above All, directed by Oliver Schmitz

South Korea – A Barefoot Dream, directed by Tae-gyun Kim

Spain – Even The Rain, directed by Iciar Bollain

Sweden – Simple Simon, directed by Andreas Ohman

Switzerland – La petite chambre, directed by Stéphanie Chaut & Véronique Reymond

Taiwan – Monga, directed by Doze Niu

Thailand – Uncle Boonmee Who Can Recall His Past Lives, directed by Apichatpong Weerathesakul

Turkey – Honey ( Bal), directed by Semih Kaplanoglu

Venezuela – Hermano, directed by Marcel Rasquin

Yeh kaisa “Mausam” ka jadoo hai mitwa ? Here is our weather report

Posted: October 3, 2010 by moifightclub in cinema, film, reviews, Scripts, Special, Story / Plot / Synopsis, writing
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The weather was cloudy, again. And this time, it rained. We again headed to Juhu for some chaana zor garam. And again, it was Ripley’s Believe It Or Not. This time it was the script of Pankaj Kapur’s directorial debut Mausam. It stars Shahid Kapoor and Sonam Kapoor.

And those of you who are still wondering about the “again” factor, click here to read how we got lucky one day and put an open bet on Imran Khan’s famous dud – Luck. And if you  are curious to know the weather report this time, read on…

Looks like Pankaj Kapur’s aim is to tell an epic love story, which crosses the barriers of age, time, space, religion, countries and events. But the problem is, there is nothing epic about it. Its all about Harry and Aayat’s meeting, separation, meeting, separation, meeting, separation and finally, well, we all know how hindi films end.

And this meeting & separation of lovers happens all of a sudden, every time, once, twice, thrice and so on. The script is divided into four seasons, each like one chapter that tells us how the lovers meet to separate again. It starts with political undertones, and then, few more big national and international news incidents are added in every chapter to separate the lovers. The story starts in 1992 and ends in 2002. The impact of one big international incident is hilarious, its just in one scene. And there is NO need for it.

In the first season, the set up is quite elaborate, all about a marriage that has got nothing to do with the main story.  The story moves in sluggish pace and will test your patience. The second season is the one where the love story happens. And its all in Scotland. Why ? No clue. It could have been any other place, even in India. The lovers don’t get to meet because there is a communication gap. And may be, the distance helps in making the gap wider.  Season three keeps the lovers away from each other for some reason or another and then the finale in season four. One more big national incident and suddenly all is well. So, the drama is all about the communication gap and  after a point, we felt like we should just call up both Harry and Aayat and tell both of them about their whereabouts. No need to struggle to find each other. That was 70’s, sir!

If we can’t finish about 120pages at one go, it means there is something wrong with us or with the script. First 30 pages and we were snoring and how! And there are three songs in the first 30 pages. Jejus! Holy fuck! Its PANKAJ KAPUR – one of the best actors we have. Lets go back.

We tried again and finally managed to finish it. And re-read it. Its not bad, its just boring. May be, Pankaj Kapur should continue with acting or may be, he will prove us wrong and show us the big middle finger. But with Shahid Kapoor and Sonam Kapoor in the lead, it needs the talent of Wong Kar-Wai to make something interesting out of this script. And yes, lot of scenes have to go. Lots! Just go. They don’t make any sense and go nowhere though the story moves from Kashmir to Mallukot to Scotland to London to Udhampur to Ahmedabad.

And here is what we liked – The writer-director seems to be very clear about the ambience sound he wants and the way he wants. Almost every scene has decription of the same. Some of the romantic scenes in season two are interesting. There are options written for some of the scenes – either this way or that. And here is one scene from the script….

I/E.  TRAIN/TRAM.  SCOTLAND  – DAY

Harry and Aayat are seen standing in a train or tram, it is crowded.

AAYAT

Bua ab hamare saath rehti hain.

HARRY

Oh! I see. Kaise hain ?

AAYAT

Theek hai….aur tum ?

HARRY

Main bhi theek hun

AAYAT

( smiles a little or small laugh)

Nahi. I mean tum kahan rahe itne saal ?

HARRY

Kaha raha hun….(looks at her) Mallukot station se tumhari gadi ko jate dekha – ussi waqt air force mein selection ka khat mil gaya. bas phir training, uske baad commission, ab jahan jahan posting hoti hai vahin rehta hun.I mean in a way Mallukot choot sa gaya hai.

AAYAT

Mallukot what a lovely place na ?

HARRY

Yaad hai tumhe ?

AAYAT

Yes, of course.

There is a silent pause. They look at each other.

Show us the finger, sir! Show us. We are waiting and how!

The film is produced by Madhu Mantena, Reliance Religare (Sheetal Talwar) and Eros Entertainment. Madhu and Sheetal’s last masterpiece was Rann. And Eros have been delivering one dud after another. Their latest is Anjaana Anjaani. Click here and here to read what the makers have to say about this film.

Sirs, hope you do read scripts before you decide to produce a film. Hope you do know how to read a script. And hope you will be able to deliver. Good luck. And if you decided to produce the film because it has Shahid Kapoor and Sonam Kapoor, well, its never too late to start praying. Jejus!

Mumbai Film Festival 2010 – Films to watch & things to do

Posted: September 30, 2010 by moifightclub in cinema, Film Festival, News, Special
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This is the 12th year of the Mumbai Film Festival organised by MAMI ( Mumbai Academy of Moving Images) and looks like this year’s fest might turn out to be the best so far. Reasons ? Well, they got the best of the lot from Cannes, Venice, Berling, Sundance and Locarno.  200 films from 58 countries will be screened and here are the highlights…

1. It opens with David Fincher’s The Social Network, which is already getting some great reviews.

2. Sofia Coppola’s Somewhere, winner of Golden Lion at Venice 2010.

3. Abbas Kiarostami’s Certified Copy. Juliette Binoche bagged the Best Actress Award for it at Cannes 2010.

4. Semih Kaplanoglu’s Honey which won the Golden Bear at the Berlin Film Festival 2010.

5. Li Hongqi’s Winter Vacation – bagged the top prize at Locarno Film festival 2010.

6. Xavier Beauvois’ Of Gods and Men – won the Grand Prix at 2010 Cannes Film Festival.

7. Lee Chang-dong’s Poetry – won the Best Screenplay award at 2010 Cannes Film festival.

8. Alexei Popogrebsky’s How I Ended This Summer – Best Actor Award for Grigory Dobrygin & Sergei Puskepalis and Outstanding Artistic Contribution Award to its cinematographer Pavel Kostomarov.

9. If I want To Whistle, I Whistle – Silver Bear at Berline Film festival 2010.

10. Aamir Bashir’s directorial debut Harud is in International Competition for the First Feature Film Of the directors.

11. Hang Sang-Soo’s Hahaha – won the top prize in Un Certain Regard category at Cannes 2010.

12. Michael Haneke’s The White Ribbon (Cannes winner 2009), Danish film Submarino (was in competition in Berlin 2010) , Takeshi Kitano’s Outrage (was in Cannes competition 2010), Alejandro Gonzalez Inarritu’s Biutiful, Mike Leigh’s Another Year and Mathieu Amalric’s On Tour will have screening under World Cinema section.

13. 20 documentaries from across the world.

14. Japanese Cinema – Screening of 43 films from Japan including Takeshi Kitano’s Boiling Point, Takashi Mike’s Crows Zero and Akira Kurosawa’s No Regrets For Our Youth. Kurosawa’s Chief AD will present the special screening of Ran.

15. Mainsteam titles – Company Men, Inside Job, Banraku, Letters to Juliette.

16. Screening of Good Night I Good Morning – directed by Sudhish Kamath (film reviewer with The Hindu) and has cameo by Rediff’s film critic Raja Sen. Time to return the favours ? Dear Raja, will you be there ? 😉

17. Screening of The Untitled Kartik Krishnan Project directed by Srinivas Sunderrajan and starring our very own Kartik Krishnan.

18. Film Business Centre – plan is to get sales agents and buyers from across the world.

19. Master class in direction by Jane Campion and round table by Oliver Stone with Indian Filmmakers. Emerging Directors panel with Nandita Das, Kiran rao, Anusha Rizvi will be moderated by Sooni Taraporevala. Daily Open forums by Indian Independent Filmmakers Worldwide.

Venues – Chandan Cinema, Juhu and PVR ( Juhu).  Also, 2 screens in Metro Big Cinemas ( Marine Lines) and one screen in Big Cinemas R City (Ghatkopar).

Dates – 21 -28th October 2010

So, what are you still waiting for ? Go, run for your registration. Click here for online registration.

VOTD : That Girl In Yellow Boots Team at Venice Film Festival

Posted: September 23, 2010 by moifightclub in cast & crew, cinema, Film Festival, News, video, VOTD, Xclusive
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We have read the news, seen the pics and now, here is the video. The team of That Girl In Yellow Boots at the Venice Film Festival, 2010. From seating arrangement confusion to what time should they enter the venue to the introduction of  the cast and crew at the screening….its all here. Its inside out view, as the camera moves with the team and captures some candid moments.

Our favourites – Killer looks@1:36, Kalki’s filmy song@1.50, Once again@3:38 (but what ? ), facepalm@6:30 and show me your casting director expression@7:52…enjoy!

And to know more about the film, click here and here .

First Look : West Is West (Trailer, Synopsis and Early Reviews)

Posted: September 16, 2010 by moifightclub in cast & crew, cinema, Film Festival, film review, first look, movie reviews, News, songs & videos, Story / Plot / Synopsis, Trailer, video
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The sequel to East Is East is here. The film is being screened at the ongoing Toronto International Film Festival. Starring Om Puri, Aqib Khan, Linda Bassett, Ila Arun and Jimi Mistry, its directed by debutant Andy De Emmony. Click on the play button to check out the trailer.

And here is the official synopsis…

Manchester, Northern England, 1976. The now much-diminished, but still claustrophobic and dysfunctional, Khan family continues to struggle for survival. Sajid, the youngest Khan, is under heavy assault both from his father’s tyrannical insistence on Pakistani tradition, and from the fierce bullies in the schoolyard. His father decides to pack him off to Mrs. Khan No 1 and family in the Punjab, the wife and daughters he had abandoned 30 years earlier. The sequel to East is East, West is West is the coming of age story of both 15-year-old Sajid and of his father, 60-year-old George Khan.

And click here and here to read two early reviews, published in Screen Daily and The Hollywood Reporter.

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