Archive for the ‘Movie Recco’ Category

The World of Shutu

It’s always difficult to write about a film when it comes back home with you as a very palpable emotion. The conflict is between whether to talk about the film (like a semi-review, talking about the great crew and cast, plot, motifs etc.) or the memories & insights it triggered. Since it’s a quick & short piece written in the middle of a very tight schedule, mainly to excite the reader enough to go and watch the film, I will stay somewhere in between – a bit clumsy but functional.

We all have been Shutu at some point of time in our lives. I know I have been, for many years. Bullied, ridiculed, misunderstood, misfit and still trying to smile lest I should be seen as ‘sissy’. Fitting into this world of men is a constant struggle for men even. It’s a game whose rules we laid on our own and still laid them so tough that now we are having a hard time catching up. Why did we do this to ourselves? Why we continue to do this – trying to check items off a laundry list to pretend that we have grown up (from a male perspective only)? Why do we want to grow up? Due to social pressure or survival mechanism – like preys turning into predator?

Konkona Sen Sharma’s directorial debut A Death In The Gunj takes one to such places – beautiful and uncomfortable – places where innocent nostalgia meets the darkest memories. Set in 1979, it’s about a Bengali family with a severe Raj-era hangover on a quaint holiday in Bihar’s (now Jharkhand’s) McCluskieganj – a place with an equally severe Raj-era hangover. The family has many people and egos, a bunch of well-adjusted, seemingly non-threatening abnormals. And the family has Shutu (Vikrant Massey in a role of a lifetime) – the younger brother broadly seen as a silent-introvert type. The constant clash between the two worlds – one inhabited by the family with its bikes & muttons & drinks & pranks & love-games, and another in which Shutu sits by the window sketching frogs in an old diary – scrapes the paints off both of them. The delicate locking mechanism that had kept them together starts wearing off and the moment of truth, or whatever the grown-up version of that is, comes closer and closer.

The only bridge between the two worlds is Shutu’s teenaged niece Tani – already bored of the games adults play & constantly fascinated by Shutu’s scientific-poetic lonely view of the world. It’s not a coincidence that the bridge is a female ‘cos this is a film deeply aware of its gender politics (and at a couple of places, class politics too). Men behave like boys-behaving-like-men, women behave like women-seen-through-men’s-eyes, as two conflicted souls (Shutu and Tani) clutch at straws while drowning in the waters of such rigid definitions.

As a fat teenaged kid in the 90s, I loved watching cricket and I wasn’t bad at playing it too but nobody would select me in the team. My fatness and my academic bent (the tag of “padhaaku”) were a liability nobody was willing to carry. Even if selected in the team (the last to be picked), I’d not get a chance to bat or bowl. So I’d put all my efforts into fielding well. I’d kill myself to get that throw from the boundary right.

But still, just to show I am cool with this treatment, I would offer to play the umpire. That way, I’d get to be on the field at least, get to hold the ball at the end of every over (just for a few seconds before I toss it to the next bowler), and be treated with respect by both the teams. I’d apply myself to the task & be the most unbiased, observant umpire. Sometimes, I’d get to play a few balls or bowl an over – and I believe that became possible only because of the bridges I made as an umpire. But in the process, I lost something precious too. I lost my courage to openly cry in public. I lost my feminine side, or at least suppressed it for the longest time, to fit into this world of men.

And that’s why, when in one scene Shutu is the last to be picked for a game of kabaddi, his state of mind was so relatable that I felt like crying. I did not, yet again.

Varun Grover

*********************

For those looking for a quick list of reasons to watch (and watch you MUST):

  1. Konkona Sen Sharma’s assured, sensitive debut as a Director. Ace!
  2. Konkona Sen Sharma’s screenplay co-written with Disha Rindani (based on a short story by Mukul Sharma) is full of delightful dialogue & an eerie sense of impending doom.
  3. Rich texture and detailing. Made on a small budget but NEVER looks like it. Sirsha Ray (DOP) and Sidhharth Sirohi (Production Design) bring their A-game to the table.
  4. McCluskieganj’s wild charm has been captured so ethereally that you can smell the air, touch the greenery.
  5. The film has four languages (English, Hindi, Bangla, and Chhota Nagpuri) and all spoken with a natural effortlessness rare to find in Indian cinema.
  6. The brilliant original score and music by Sagar Desai (disclosure: I worked with him in ‘Ankhon Dekhi’) elevates and layers the film with great precision.
  7. One of the best ensemble casts in recent memory – Ranvir Shorey, Kalki  Koechlin, Tilottama Shome, Gulshan Devaiah, Jim Sarbh, Arya Sharma, Tanuja, and Om Puri (one of his last roles and what a delight he is!).
  8. Such well-etched and distinct characters – right from Ranvir Shorey’s Vikram to Kalki’s Mimi to Tilottama’s Bonnie to Gulshan Devaiah’s Nandu – constantly chattering, surprising and layering the film with their brilliant mannerisms.
  9. Vikrant Massey got the kind of role actors crave for and he hits it out of the park. Shutu is beautiful and heartbreaking.
  10. Every department has delivered and the best thing is – the sum is way greater than the parts. Do not miss this film.

To get the reference of the country in the header of the post, you have to watch the film. Surely that can’t be enough reason to watch it, so here’s Varun Grover’s recco post on the film.

“अबला बबाल देख
डायन छिनाल देख
कुलटा कमाल देख – सारा-रारा-रा”

ये फ़िल्म देख लीजिए सब लोग। बैठे-बैठे ढेरों कारण तो अभी गिना सकता हूँ। उसके अलावा, जो हर फ़िल्म में होता है कि जो गिनाया नहीं जा सकता (जैसे आँसू या तालियाँ), जो एक अंदरूनी जादू है – उसके लिए तो सिनेमा हॉल जाना ही पड़ेगा। (और जैसा कि अक्सर होता है, ऐसी फ़िल्में मेहनत करवाती हैं। शो कम हैं, दूर हैं, पब्लिसिटी नहीं है – लेकिन यही आपके प्यार की परीक्षा भी है।)

१ – Avinash Das की #AnarkaliOfAarah वहाँ जाती है जहाँ सिनेमा तो क्या, हम लोग असल ज़िंदगी में भी जाने से डरते हैं। सोच की उस हद तक। Male entitlement और female consent पे बहुत बात हो रही है पिछले कुछ समय से लेकिन फिर भी जो बातें और लोग उन mainstream debates से छूट गयीं/गए, या जो सही से नहीं कहीं गयीं, उन सबका धुआँधार निचोड़ है।

२ – स्वरा भास्कर (Swara Bhasker) ने जो आत्मा फूँकी है अनारकली में, अपने अस्तित्व का एक-एक कण डाल दिया है। ऐसी दमदार मुख्य किरदार कि आपको उसके लिए डर लगे।

३ – ग़ज़ब के गाने। छिछोरे से लेकर क्रांतिकारी तक – और कई बार दोनों ही एक साथ। रोहित शर्मा का संगीत, और Ravinder Randhawa, Ramkumar Singh, Dr सागर, और ख़ुद Avinash के बोल – (“हम खेत तू कूदारी, हम चाल तू जुआरी”), पावनी पांडे और स्वाति शर्मा की आवाज़ें – बेहतरीन।

४ – फ़िल्म की भाषा। इतनी प्रामाणिक भाषा बहुत कम हिंदी फ़िल्मों में सुनने को मिलेगी। भकुआना से लेकर सीजना – हर शब्द में रस है। जो भी ‘उधर के’ लोग हैं, उनको तो मज़ा ही आ जाएगा।

५ – फ़िल्म का पहला और आख़िरी सीन। दो बिंदुओं से वैसे तो एक लाइन बनती है लेकिन यहाँ एक पूरा वृत्त बनता है।

६ – ‘तीसरी क़सम’ को दिया गया छोटा सा, सुंदर सा tribute।

७ – अनारकली के universe के बाक़ी किरदार। Pankaj Tripathi का ‘नाच’, Sanjai Mishra का वीभत्स रूप, इश्तेयाक खान का हैरी, अनवर (Mayur More), मफ़लर, एटीएम।

८ – अविनाश दास की पहली फ़िल्म, एकदम independently बनायी हुयी, सिर्फ़ दोस्तों और पागलपन की मदद से – तो ऐसी चीज़ों से जो धुआँ उठता है वो अलग ही रंग देता है।

Varun Grover

anurag kashyapAnurag Kashyap has put out his list of favourite films of 2016. Exactly like he did in 2015, too. And we are copy-pasting the same intro that we wrote for the post last year.

Anurag Kashyap was championing films of other directors much before bolly celebs took to twitter to blindly endorse any film which has been made by their family, friends, or fraternity. And it killed the ‘championing’ bit completely. Everyone says good things about every new film on twitter, completely defeating the purpose, and making it look like a PR exercise. And then there are few who can’t think beyond their own films, or their husband’s film. Really? Beauty.

On his Facebook, Kashyap has posted the list of his top films of the year. And it comes with a caveat that he has not seen all the releases.

Never seen so many lists of best film, actors (male and female) or whatever ever before. It’s so good. I suddenly feel there is so much I haven’t seen. But why only Hindi films, why not films from other languages, we do make films in many languages. I mentioned Visarnaai and Thithi in last year’s list. But this year it’s difficult to choose. So here are my guilty pleasures and the best I saw this year.

In no particular order..

Chauthi Koot
Gurgaon (the best noir I have seen made in recent times, look out for this one)
Kammatipaddam
Kapoor and sons
Sairat
The Gold-Laden Sheep and The Sacred Mountain
Aligarh
Parched
Udta Punjab ( I am one of the producers)
Dangal (minus the national anthem)
Budhia Singh (suffered because it did not have an Aamir Khan but equally good)
Placebo

These are the films I had complete experience with. That is along with the disclaimer that I haven’t seen Waiting, Phobia, Island City, Bollywood Diaries, Jugni and so much more. Infact this is the year I saw the least number of films.

My actor of the year is Hands Down Manoj Bajpai, and actress – Alia Bhatt and the amazing Girls of Dangal.

Many internationally renowned filmmakers do put out their Top 10 list. Steven Soderbergh puts out the complete list of whatever he has seen and read. His 2015 list of films, tv shows, books and plays is here.

If you come across more such lists, do add in the comments section below. Also, do share your list of top 5/10.

We are bit late on this, but here it is – our recco post on Damien Chazelle’s new film, La La Land. It’s written by Percy H Bharucha.

la-la-land

La La Land is a movie devoted to a single word – ache.

The ache of Nostalgia.
The ache of a city like L.A.
The ache of dreams unfulfilled.
The ache of lost musicals and movies.
The ache of love lost.
The ache of what could have been.
And the ache of time spent apart.

As a child I used to watch musicals with my grandfather. My introduction to Hollywood was An American In Paris, Singing In The Rain, Easter Parade, Hello Dolly. Those were my first movies and I loved them dearly. As I grew up, so did Hollywood. Things got complicated for all of us and I yearned for a movie so simple, so removed from reality, that it wouldn’t want me to return from it.

La La Land brings back that ache for all of us. It brings with it a refusal to detach from its world. It is astonishing to watch a movie where the failures of the characters seem yours. The viewer takes that emotional burden upon himself just as I did. I rooted for them to fail, yes I did. Just to embrace the feeling it would bring. To feel through them.

There have been movies of recent that have relied on catering to a sense of wonder whether through visual aesthetics or intellectual curiosity, but La La Land is different. It holds itself to a different pedestal, though shot beautifully, it holds itself to the standards of emotion. Few movies have had such an impact on me. It has brought my pen out of hibernation This article is driven by personal catharsis, as much as it is, about this movie being an influence. I write this, as words tear themselves eager to be set on paper.

La La Land reflects a choice every one of us has had to make at least once in life. The choice between love, between relationships we share with ourselves and our dreams. I am glad, for once, there is a movie that prioritises dreams over love, the self over the other. Too many movies are tied to the illusion of the characters walking away with it all. La La Land is fierce enough to show its wounds, our wounds, the costs we pay to be at peace with ourselves.

Which brings me to the last part of the movie, the ache of what could have been, that’s reflected in the alternate flashback between the couple when she walks into his bar. It brings with it the realisation, of the characters being fully aware of their own losses, the pain they’ve endured and so is the viewer too, aware of what he has given up. No one is spared the pain of knowing the ideal, the best case scenario and yet the brilliance of this movie lies in how willingly I, the viewer, could embrace that pain, the burden and the ache the characters bring with them, as my own.

Like a wounded bird we nurse that emotion only because it’s been a long time since any of us felt this strongly about anything at all and even the emotion of absolute loss is better than feeling nothing at all.

La La Land offers an escape from the dark abyss of emotional numbness, it makes us ache in places we didn’t know were capable of expressing emotion. And the final proof of its own success is that a film that reminds us of these aches, becomes an ache by itself. La La Land makes us ache, and departure from the movie is no less painful than the character’s departure from each other.

I wish there was more heartbreak to be felt.

Percy Bharucha

(The author is a Young India Fellow, and has been writing since he discovered he couldn’t draw. He has a full time job in advertising and hopes to keep it that way. He has been previously published in eFiction and eFiction India, Asia Lit, Reading Hour, Gratis and The Madras Mag. He infrequently tweets @Sab_Bakwaas_Hai)

amdavad-ma-famous

For some reason or other, we have been missing all the screenings of Hardik Mehta’s doc, Amdavad Ma Famous (Famous in Ahmedabad). The film has been doing the fest rounds and we have been reading a lot about it. And if you are in the same boat like us, here’s the good news – the film is out on Netflix now. Watch it.

Here’s a new trailer of the documentary

With Netflix’s acquisition for streaming this doc, hopefully it’s a start that will open more doors for good content without bothering about the length (short/full length) or format (non-fiction/doc). And that’s important because currently we don’t have any platforms where we can watch such films/docs.

Here’s Hardik Mehta looking back at the film’s inception and its journey so far –

Amdavad Ma Famous happened when I was in between assignments and quite restless with the AD life. I had assisted on Road Movie, Mausam, Lootera and Queen, and was desperate to explore my filmmaking skills. I’d directed a fiction short, Skin Deep. But what next? I didn’t want to sit around waiting for some inspiration or opportunity to strike; I just had to shoot.

So in January 2014, I thought of going to Ahmedabad to capture the old city pols (lanes) in stills, it wasn’t a commissioned assignment but a personal one, to rekindle the lost love of photographing a city.

Once there, I witnessed the euphoria that engulfs the whole city during the festival of Uttrayan. From six-year old kids to 60 year old seniors, everyone walking around with their eyes glued to the sky buzzing with hundreds of colorful kites. It was a surreal experience. It brought people from across age, class and community, on the same playing field, the terraces of old pol! That’s where I spotted Zaid. He was this skinny short boy in his gang, but his transformation into the leader of the pack when it came to chasing, catching and flying kites was fascinating. I asked him if it was okay if I shoot him. ‘Just don’t get in my way and stop me from chasing after kites!’ he quipped!

I had to catch up. I roped in ace cinematographer and dear friend Piyush Puty and we decided to follow him – see what it is like to be Zaid, running on the streets, scaling terraces, risking life and limb with single minded focus on his beloved kites!

We managed some great footage and cut a teaser, still looking for our story and funding. But with a little push from our friends, Puty’s enthusiasm and Producer Akanksha Tewari, we went back to Ahmedabad in 2015 with a bigger crew, a second unit cinematographer Harshbir Singh, location sound Pranav Kothi and Line Producer Nachiket Desai went back to Ahmedabad in 2015 with a bigger crew, a second unit cinematographer, and location sound. So for the 30-minute short, we shot for two years (2014-2015), following Zaid for three days each year during the festival of Uttarayan, and came home with some incredible footage.

But the edit was a bigger challenge in the film. It was during the five month process that I experienced how editing a documentary is like writing a screenplay for a fiction film. We had lot of visually appealing footage, but deciding what to keep out and the ‘right’ length of the film, was where I learnt (and grew) the most as a filmmaker.

I wanted to re-look at things I’ve grown up with, as if it was a story and I was trying to explore this fluidity of format when a real-life setting is presented as a narrative. I was lucky to have great advice from Nishant Radhakrishnan (Editor, Dhobi Ghat) and Vikramaditya Motwane (Director – Udaan, Lootera).

An insight that particularly worked for me was to edit the film like Zaid himself is telling his story to the world – his world through his eyes, using the craft, music and narrative true to his world.

Speaking of the learnings from Amdavad Ma Famous’ journey.

Firstly, the importance of good post-production – right from music to sound design to even a poster and film stills used for promotion, all of it matters and more so for a short! Because even a good short film can fall into the trap of amateur work if the post-production is not right.

For our film, we were sure to treat it as important as one would treat a fiction feature. I had an incredibly talented team – Alokananda Dasgupta’s music, Manoj Goswami’s Sound Design, and Arya A Menon coming on board as Producer, every bit contributed.

But my biggest learning has been the boldness to just go out there, get your hands dirty, shoot and make your film – The Werner Herzog rule. Duration, formats don’t matter, only the heart of the content does. And there are more ways than one to make your film reach out to its audience. There are global platforms willing to look at all kinds of content.

It was the same boldness that made us take our film to a global giant like Netflix, when no one was sure if they would even consider or take up a short doc like ours. Netflix showing faith in our content and picking it up has reinstated our belief in independent filmmaking. Thrilled to share that Amdavad Ma Famous is now streaming on Netflix, globally and continues its international film festival run.

I’m as much of an outsider as anyone wanting to make a film in our industry. I’ve seen talented ADs who keep waiting for producers and hovering around actors for the big break, but there is no point in wasting your life’s precious young years in Mumbai cafes. The big break will come, but when digital cameras have given us so much confidence and independence that it is an insult to this democratization of technology if you are not utilizing it in the meantime. There’s no point waiting your time, when your time is really now.

The Film Festival Journey:

We had limited exposure to the documentary festival circuit, and not many avenues to learn more from either. We started submitting the film and decided that wherever we get the first call from, we will take it up.

We started with Budapest International Documentary Festival, a fairly medium sized festival being put together by an incredible group of Filmmakers and film lovers. They loved the film and invited us to attend. That was the world premiere for us, and also our first win – we won the Best Documentary Jury Award at 2015 BIDF.

2015 Al-Jazeera International Documentary Film Festival, Doha, Qatar, was next and we won Best Documentary Jury Award there too. Followed by an amazing reception at 2016 MIFF, Mumbai where we won the Best Documentary and Best Editing Award. The double win at MIFF gave us a lot of confidence.

Of course, there were rejections from some prominent North American and European documentary festivals, but we kept at it. What really charged us up was the selection at HotDocs, Toronto and winning the National Award – Swarn Kamal as Best Non Feature Film for 2015.

As of now, Amdavad Ma Famous has travelled to film festivals spread across six continents over fifty cities and been lucky enough to pick up twelve awards on the journey too.

Hardik Mehta

And we have come to the second last day of the Mumbai Film Festival. Here’s quick wrap of all the films that we managed to catch.

If you are looking for our previous posts on reccos and reviews from Mumbai Film Festival, our Day 1 wrap is here, Day 2 is here, Day 3 is here, for Day 4 click here, and Day 5 is here.

For our notes on Movie Mela, click here. And click here to read about Cary Fukunaga session.

Nakom

The reason why I love attending film festivals is I get to see and learn about other cultures and countries. Kelly Daniela Norris and T. W. Pittman’s “Nakom” took me to a hidden rural town in Ghana and made me a part of their daily struggles. A simple story, on the lines of “Swades”, this is a very personal and sincere film. Story about going back to ones’ roots has been explored time and again but here, the filmmakers treat it in a very unassuming and simple manner. Truly an indie film with grainy night footage, non-actors performing to the best of their abilities, these flaws only add to the narrative to tell a very personal story about being torn between two worlds. Just wish the protagonist wasn’t so righteous and had some flaws in him. Nevertheless a gorgeous to look at with some great music. Here’s hoping this film gets a wide release so people can explore this side of Ghana. “Nakom” is probably a film that Ghana desperately needs.

Trapped

After the underwhelming “Lootera”, Vikramaditya Motwane has made one hell of a survival thriller in “Trapped”. What I loved the most was that it’s set in a metro like Mumbai where anything you can think of is available. Be it food, friends, enemies, dirty, crowd, empty nights and yet Shaurya (Rajkumar Rao) has nothing! Juxtaposing this mad city with the emptiness of a brand new flat was just a masterstroke. You can see the busy city, hear the noise but a call for help is useless! “Trapped” is also technically the strongest Hindi film this year. Motwane smartly uses aspect ratio to draw you into trapped environment and goes 2.35:1 during some really epic dream sequences. Everything here is just right, not more, not less and that’s the power of editing! Without a strong edit, a thriller is nothing. Too add to the awesomeness is the mind blowing score by Alokananda Dasgupta. Terrific stuff!

Mihir @mihirbdesai

My Life as a Courgette

Icares is sent to an orphanage after he accidentally kills his mother in an unfortunate yet hilarious accident. He meets a bunch of other orphans there and after some initial hospitality, he develops a bond with them, especially with Simon, the resident bully. Camille enters the scene after a few days and Courgette falls for her.
This gorgeously rendered stop motion Mary & Max-ish feel wali French language film is Swiss official entry for the 89th Academy awards. I’m so glad I ended my day with this after starting it with the eerie Hounds of Love. Had a huge grin on my face throughout the 65 minutes of this absolute cuteness overload.

– Avinash @filmworm85

Multiple Maniacs

On the surface, Multiple Maniacs is about Lady Divine and her motley crew, luring unsuspecting suburban folks to her show ‘The Cavalcade of Perversion’, the catch being the audience will have never seen something so ‘nasty’, so ‘filthy’. The show consists of acts such as ‘puke eater’, ‘faggots’ kissing and alike. At the end of the show, the unsuspecting audience is looted off their money and belongings on gunpoint.

Scratch a layer deeper, the film is about John Waters luring sweet suburban folks (yes, even us Mumbaikars) in to his own version of ‘Cavalcade of Perversion’. The film is like looking in to a mirror but only seeing a more grotesque version of your staring back. The film is truly twisted at its core. All institutions of our current day society such as education, family etc. are torn in to thither, but none as much as ‘Religion’. If you are even remotely religious, stay away from this, you have been warned. But if in case you have a thick skin, you are in for a bizarre treat which hasn’t aged a single day in the 46 years since it first released. Mr. John Waters, you have attention as well as our curiosity! P.S. Multiple Maniacs will be screened on Day 7 of at La Reve, Bandra. Do catch if possible.

– Aditya @TheRadiowala

Death In Sarajevo 

Danis Tanovic’s new film is an Altmanesque satire, a drama of ideas until it isn’t. Cash strapped and desperate, a hotel prepares to host a function commemorating the hundredth anniversary of the first World War while its meagre staff readies for a strike, while at the same time tensions flare between a Serb and a Bosnian woman interviewing him on the rooftop. The hotel becomes a fascinating backdrop for exploring worker rights and capitalism while Tanovic brilliantly uses the rooftop sequence to depict the dissonance between humanity and politics as the two warring parties display a subtle sexual chemistry. A prerequisite knowledge of European history, specifically of the Slavic countries, is recommended.

The Untamed

I didn’t watch Mexican filmmaker Amat Escalante’s Heli at last year’s MAMI but I heard people berating it while riding the elevator up to the screens, an old bearded man ranted about how it had gone too far. I never got around to watching it but a viewing of Untamed has all but ensured that I’ll seek it out.

It’s a bizarre lo-fi sci-fi domestic drama about a mother of two and her husband who is in an abusive affair with her gay brother. The science fiction elements mostly take a backseat to the human drama but when it’s there, it’s deliciously done, calling to mind Andrzej Zuwalski’s Possession, with its creature design and erotica. There’s some allusions to the misogyny and homophobia in Mexican society but I’ve little context for it. On some level, I’m in love with the film, but I’m not entirely sure why. It’s definitely not a film for everyone.

– Anubhav @psemophile

 

Trapped

This MAMI has been a bit of a disappointment in terms of the new works by revered and trusted directors. A lot of great filmmakers produced average to even abysmal works. Somehow, despite that, I hadn’t lost even an iota of excitement for Trapped, because Motwane has my unshakable faith.

Trapped is a very simple survival drama, simple as survival dramas go. I’ll divulge as few details as I can, since even a trailer has not come out and I do not know what can be a potential spoiler to you. The film boils down to this – a man gets trapped in his own apartment, due to his own carelessness and actions performed in desperation. He has to survive, and find a way out. This isn’t any apartment, it’s an apartment in an unoccupied building. The whys aren’t something I’ll get into, suffice it to say that nothing seemed contrived. The writing felt utterly grounded, the protagonist utterly relatable.

The greatest thing that the movie does is that by virtue of it being set in Bombay, it taps into a contradictory claustrophobia that all of us who’ve lived here have felt at some point of time. You’re just one person in a sea of people, and despite the sheer population and closeness with which we live, it can be the most daunting task to be heard, to be seen, to be found. Along with that, the film deals with a lot other fears that you or I may have while living in this city. The shut out balconies. Animals. The blind trust that everything will work as planned. In the end, and this is the truth which we all need to know, when the shit hits the fan, we have only ourselves to rely on to clean it all up.

The film is not at all lengthy, the pacing is solid, the editing practically flawless. Few moments feel ripe with tension, not just in terms of “what the fuck is going to go wrong next?” but also in terms of “oh my God what is this guy going to do next?”. If you’ve seen enough movies, you’ll start trying to predict all sorts of scenarios, and Trapped sometimes lands where the predictions land, sometimes it does not, but regardless of either case, it does not feel stupid or watered down one bit. You truly feel the basic survival instinct kick in, and the battle between surviving and already set fears. Forgive me for speaking in such abstract terms, any more specifics could ruin the film for you. I enjoyed it as much as I did because I knew NOTHING about it. The thing about survival dramas is that it’s set in such a confined space and it’s got such little space, it’s easy to lose track or momentum. Tedious flashbacks, slacking of pace, repetitive tropes, all of those are pitfalls which Motwane and team effortlessly and continuously avoid. There are parts where the humour isn’t obvious, but you laugh inside. And even more effortlessly, the story eases us back into the scenario of tension. There were quite a few instances where my balls were in my mouth, pardon me for the lack of a better euphemism. Anything said about this film CANNOT be complete without mentioning the hero of the hour and a half, Rajkumar Rao. The man has proven himself time and again, but I firmly believe that he has outdone himself. Have you ever screamed yourself hoarse? You know what your voice sounds like after that. This man has actually acted that out. You see a rabid survival instinct in his eyes develop gradually as the film progresses. In the sequences preceding the entrapment, you see the awkwardness, introversion, infatuation and pure love. And then you see the most basic human nature take over. It takes an immensely skilled actor to bring all of that into one character, and this film would’ve fallen like an unstable jenga tower had it not been for Rajkumar Rao’s acting.

I believe this film would not have been the way it is had it been set in any other city. This is a story of a man surviving in Bombay. In a hunger and thirst induced stupor, he hallucinates about how joyful it would feel to travel in a sweaty, crowded local train compartment again, how joyful it would feel to argue with a BEST bus conductor again, to jump into the sea at Chowpatti beach. The barricaded balconies, the “jugaad” that we are used to seeing and doing, everything forms an integral part of the story, or character, or both. Motwane made a coming of age film that was a masterpiece. Then he adapted an O Henry story and made it into a period drama. Now, he’s made a survival story that’s stripped bare, and yet, its not devoid of magic. That’s Motwane for you, and that’s Trapped for you. Trapped is right up there with Red Turtle for me as the best that MAMI has to offer this year.

Light Music

An experimental “Experience” of sorts, involving two 16mm projectors, to showcase the way sound is used in celluloid. This one was a half an hour long experience for the curious, for the die hard cinema lover. Seeing a 16mm projector in the flesh is beautiful, to say the least, but the best part about the whole thing was that the two projectors were kept opposing each other, one in each end of the cinema hall, and with the fog effects, the rays of the projectors felt like they were having some sort of a magical duel. Or maybe I’m just indulging myself here. The images projected were that of the soundtrack part of the celluloid. We were supposed to hear, as well as see, what the sound aspect of a film is, or was. However, after maybe 10 minutes, I got bored so I stepped out.

When Two Worlds Collide

A documentary about the battle between an indigenous community and the government for the Amazon, the atrocities that can and are committed in the name of “progress”, and the price some people are willing to pay for the greater good. It is a harrowing tale, no doubt. And it is ever relevant, as whatever be the struggle, the core of it is the same everywhere – standing up for what’s right. However, this documentary had some strong pacing issues in the start. By the time it picked up the pace, I’d lost interest (in the film, not the subject), so it wouldn’t be fair if I said anything more.

Achyuth Sankar

 (Pics – Varun Grover/Jio MAMI)

mfc-mami-v3

It’s down to last 2 days of the festival. If you are looking for our previous posts on reccos and reviews from Mumbai Film Festival, our Day 1 wrap is here, Day 2 is here, Day 3 is here, and for Day 4 click here.

endless-poetry

Endless Poetry

This was my first theatrical Alejandro Jodorowsky experience and I was blown away! Easily the best film I saw on Day 5 and one of the best of the fest. Jodorowsky makes an autobiographical film which is a lot more than just striking visuals. A satire of sorts, he narrates his story about growing up and comments on the political, cultural pressures of Chile. Jodorowsky does it his way, through OTT performances, set pieces, make up and twisted humour. This is not just for hardcore Jodorowsky fans but for everyone! His most accessible and relatable film to date. Think Udaan meets Boyhood directed by the master Jodorowsky. Operatic and poetic in its execution, the visual design is unlike anything I have seen in recent times. In-camera set changes, high contrast images, musical quirks. A delight to watch! Now please make “DUNE” soon, Alejandrito! 

Mihir @mihirbdesai

Kaagaz Ki Kashti

Have you seen Pancham. Yes? Okay, then take RD Burman out and put Jagjit Singh in the same template and you have Kaagaz Ki Kashti and that’s perhaps the only fault of it, if you wanna nitpick. If you haven’t seen Pancham, even better. Director Brahmanand Singh weaves this legend’s biography from interviews, excerpts, old clips & sepia tinted pictures, nostalgia inducing trivia and feel your throat choking and eyes moistening.

Pancham worked big time for me. I loved the man and I loved the way Mr B told his story. Just like RD, I’ve grown up listening to Jagjit Saab, I mean all of us have. Even if you’re not a fan, you couldn’t have missed his songs playing in Hostel Daaru parties. Just listening to his silken sensous voice in a Dolby digital surround sound system (for the first time in my life) is worth it.

On top of that, this one gives you a window into this man’s jovial personality even though he made a career out of singing sad Ghazals. How he rejuvenated the ghazal scene, how he gave it a new language, how he took Ghazals to an average Indian household. How the loss of his son broke him and how he bounced back. It shows you the human Jagjit hidden behind the Maestro Jagjit.

It perhaps may not be an extraordinaryly path-breaking film, but the subject matter itself is so fascinating and exuberant that you can’t not be floored by it. It took me to a place I hadn’t visited since a long time. Just like the man’s singing, this one touched me in ways very personal.

It’s gonna get a PVR release soon, as told by the director in the post Q&A session. Don’t miss it.

– Avinash @filmworm85

 Sand Storm

Director Elite Zexer’s mother, a stills photographer asked Zexer to join her when she began photographing Bedouin women from various villages in the Israeli Negev desert. This adventure led to encounters with incredible women and spurred years of writing, which culminated in Sand Storm. Set in Southern Israel, it gives us an authentic picture of  life in a Bedouin village replete with its contact with modernity. It opens with the 18-year-old Layla driving the family’s truck under the supervision of her father, far from the remote village. As they near the hamlet, they switch seats. Zexer accurately captures the cultural specifics of the place  like the sex-segregated wedding function, Jalila baking bread on top of an oven and the collision of tradition with modernity. It is these details that tell the story and effectively ‘show more than tell’ . You would still wish that the story was also more revelatory. You would wish that it plumbed the depths allowing us to invest more in the mother-daughter dynamic.

Jalila is hosting the marriage of her husband to a second, much younger wife. As she tries to conceal her inner turmoil, she discovers her daughter Layla’s forbidden affair with a boy.

The revolt of the women in the film is quiet yet resolute. Lammis Amar conveys this self-assured feistiness with her doe eyes. At the heart of it, Sand Storm tells the story of a mother and a daughter, how they adopt each other’s perspectives and despite the fire within, lose their personal battles. Though Zexer is a new cinematic voice to watch out for with the emotionally rife scene design, the subtlety of the film leaves you wanting more from what could have been a story of turbulent interpersonal relationships.

Dipti @kuhukuro

The Untamed

I didn’t watch Mexican filmmaker Amat Escalante’s Heli at last year’s MAMI but I heard people berating it while riding the elevator up to the screens, an old bearded man ranted about how it had gone too far. I never got around to watching it but a viewing of Untamed has all but ensured that I’ll seek it out.
It’s a bizarre lo-fi sci-fi domestic drama about a mother of two and her husband who is in an abusive affair with her gay brother. The science fiction elements mostly take a backseat to the human drama but when it’s there, it’s deliciously done, calling to mind Andrzej Zuwalski’s Possession, with its creature design and erotica. There’s some allusions to the misogyny and homophobia in Mexican society but I’ve little context for it. On some level, I’m in love with the film, but I’m not entirely sure why. It’s definitely not a film for everyone.

Endless Poetry

Filmmaker Alejandro Jodorowsky’s latest film is probably his least impressive. All his films are indulgent and do not adhere to any set rules of cinema. Rather, they are drawn from his years and varied career as a poet, mime, magician, mystic, actor, writer and graphic novelist. Jodorowsky is such a unique artist that to see his flagrant indulgence in any form is always a pleasure. I do not exaggerate when I say that every frame in his films are crammed to the gills with metaphor and symbolism. While all this can be overwhelming, Jodorowsky always manages to eke out a common beauty, a transcendent whole that makes it all work. Endless Poetry picks up right after Dance of Reality, continuing the proposed five movie long autobiography of the director. While Dance was about Jodorowsky’s early years and his father’s hate for Pinochet, this one concerns itself with his later teenage years which yields middling results. It just doesn’t work here. Christopher Doyle’s cinematography exists as a sharp contrast to what usually is the beautiful tackiness of Jodorowsky’s art design and is quite an ill fit. Jodorowsky’s son Adan plays him in the film but he pales in comparison to Jeremiah Herkowitz in the first film, and pales, especially, in comparison to his father, Alejandro, in the few scenes he shares with him. What is particularly off putting is the total lack of humility Jodorowsky exhibits, with the film constantly proclaiming how great a poet the filmmaker is.

This might make an interesting watch for the Jodorowsky virgin and fans will watch nonetheless. The next film in the series will follow Jodorowsky to France, in a more interesting time in his life, and perhaps to a better film.

– Anubhav @psemophile

Apprentice

Apprentice could very well have been a Gulzar or a Manto short story (resisting the pun here involving director’s name — Boo). It is about the emotionally conflicting choices one has to make in dire situations. But it is more personal than political. It is an after-crime story. What happens with their family after someone has committed a crime and has even been punished for it. Does the punishment stop with the perpetrator? It is an after-effects tale where the tale has turned but the cycle goes on. A former soldier has newly joined as a guard in a state prison. He is hiding something about his lost father and then he finds a father-figure in the prison’s executioner. The plot is so predictable that you know right from the beginning what the last shot of the film will be. But it doesn’t matter. You wait to see that. It’s about “how” more than “what”. Engrossing dramatic build-ups, searing emotional tension… everything photographed effectively by Benoit Soler who also shot Singapore’s Oscar entry of 2013,  Anthony Chen’s brilliant Ilo Ilo. Chen and now Junfeng are the two young filmmakers from Singapore to watch out for.

Anup @thePuccaCritic

Ahamaq

What separates Mani Kaul’s films from other Indian parallel cinema exponents is the visual eye. Kaul’s flair for rhythm, mood and images, and the meandering nature of his drama made him a very significant filmmaker at par with the world cinema auteurs.

I knew what to expect of Ahamaq, adapted from Dostoevsky’s ‘The Idiot’, and also the context of films by FTII passouts of the time. In a way, this film is a cinematography achievement. But Kaul’s disregard for performances and drama hurts Ahamaq, mostly because of the length of this feature. There’s only so much unwanted, dated poetic surrealism you can take. I’ll still recommend you to go this and figure this out for yourself. Anup Singh (‘Qissa’) co-wrote and was also the 1st AD on the film. I feel, Kaul would have made a great 21st century filmmaker.

(PS – Before SRK laughed that laugh in Darr, he did it in Ahamaq. In abundance. Mani Kaul was a visionary, in more ways than one)

Bhaskar @bolnabey

Staying Vertical (Dir: Alain Guiraudie)

Crazy doesn’t even begin to describe this film. Haven’t seen many other head-fuck films at MAMI this year (Wailing, Wild, Untamed though did see the brilliant Endless Poetry and The Lure) but STAYING VERTICAL was one of the most rewarding festival experiences yet for me. It’s a film that makes you work – to try and decode the allegories at play. Though the initial hour feels like a template art-house deep but frustrating experience but as soon as you get the key to the metaphors, it turns into a darkly humorous take on *won’t spoil what*.

Fun fact: The film has a lot of dick-shots and with every such shot, at least 3 people walked out of the screening. I figured that different people have different tolerance levels on the number of dicks they can see in a film. Some were like – “2 dekh liye, ab teesra nahin dekh sakte.” Respect

वरुण @varungrover