Archive for the ‘short film’ Category

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Sounds offensive no? But it’s a fact that you are acting like bhakts and here’s why.

Illogical
Do you know bhakts are supposed to be illogical? Shazia has rationally pointed out all the holes in your decision here so there isn’t much to say there. But your response? Well, it is stupider than Modi’s logic for climate change. (Look it up here ) We thought you wanted to open a conversation, your response shows you don’t even know where to begin. No communication, no valid reason presented to her. Why? Is it too much to ask you to think critically? If yes, then you are no better than bhakts and all the talk of independent cinema and artists voices is baloney. If no, then think.

Herd mentality
If you can think you will know you are jumping on a bandwagon without really standing up for anything. Just like bhakts keep shouting ‘hindu khatre mein hain’ at every given opportunity without knowing jackshit about what Hindu means. Or Hindustan for that matter. Just because everyone is high on moral outrage you are high on it too. Sorry, this way your voice and stand becomes more irrelevant than you think. But oh, I forgot you cannot think. For yourselves.

Righteousness
Are you a film festival or a Khap Panchayat? I smell so much self-congratulatory pride in your actions and statements. Why? Suddenly you have become all righteous and in the weird most way possible. Oxfam is Ok with you, Lars Von Trier is Ok with you but Bebaak is not. Even after all mentions of the co-producer in question have been removed. And yet, his involvement in other projects go unnoticed. Really now? Who made you the Sarpanch of the me too movement? And a patriarchal one that too.

Convenience
Bhakts have no identity of their own, they derive it from their idols. By taking a stand that is as pointless as it is stupid, you seem to be trying to latch on to the identity of the me too movement because you have none of your own (you can’t have an identity if you can’t think for yourself, btw) Your decision seems to be a strictly PR exercise to keep a good, clean, progressive image in public. A ‘show’ to display you are on the ‘right’ side. That is what patriarchy has done all along. Are you any better? Doesn’t look like to me.

Sense of ownership
Have you noticed bhakts demanding India be exactly the way they wish to be? Have you noticed that all who don’t fall in line are summarily lynched and removed from the system? Do you really think the me too movement is simply about arbitrarily disconnecting those who don’t agree with you? Not only have you denied Shazia a fair hearing, your responses show you wish to have no conversation about it because you seem to know what you are doing is right. Somehow that is enough and Shazia has no place or say in the matter. Wonderful. I thought only bhakts did that. The me too movement, is not yours alone to decide what to do with it. Just like India does not belong to the bhakts alone.

Entitlement
The me too movement is a variety of things for all of us, women and men alike, small and big alike. For some it is about speaking up, for some remaining silent, for some taking action, for some backing off. But for all of this to have happened, women and men alike, have taken individual stands. They have made difficult choices. They have lost friends, reputations and careers among other things, to ensure we finally call out hypocrisy and entitlement. Your stand reeks of both to me, hypocrisy and entitlement. Will you call yourself out? Guess, that would be bad for PR. If you won’t you don’t stand in solidarity with the movement because the one thing it has taught us all is where we all are complicit in the system. But you seem to be a system unto yourself and an ill-thought out one at that. Doesn’t it remind of you something called the bhakt behavior?

Any answers to all of the above? If not, try watching Bebaak again, you may still have a copy. May help you develop a brain. And a spine.

Btw, Bebaak means fearless.

Fatema Kagalwala
A very disappointed film fan who also happens to be a feminist.

The hype, the excitement, the wait ends today.
Sriram Raghavan’s Andhadhun releases. And everyone is eager to watch it to know the answers to the questions the trailer raised.

Meanwhile, why not give a viewing to the short that is supposed to have given Sriram Raghavan the core idea of the movie?

Here’s French short The Piano Tuner, by Olivier Treiner.

Bad news first – Large Short Films continues  to be moronic and is still peddling Chaitanya Tamhane’s name in all their communication, even in their medianet promotions.

And the good news – Somnath Pal’s gorgeous looking animated short is out. It’s beautifully evocative. Do watch it. Also, the posters are so striking, we are sharing all of them here.

And here’s the short

This is bizarre. And it just doesn’t seem to end. So we are forced to write this post.

Hey Large Short Films, you awake? You drunk? You know the role of director in making a film? And how different it is from being a producer? You know what Somnath Pal has done?

Why is Chaitanya Tamhane’s name being peddled everywhere for Somntha Pal’s film Death Of A Father. First, it happened during Mumbai Film Festival. The communication was so deceptive, everyone thought that Chaitanya has directed a new short film. Nobody knew about Somnath. His name wasn’t mentioned anywhere.

Even Varun Grover, who was moderating the Q and A panel for the shorts, had no clue till he was there.

We understand that you want to cash in on Chaitanya’s name, and it’s great that he is supporting other talented filmmakers. But how about we get the basics right. We don’t know what Somnath and Chaitanya feel about it, and how they are allowing it to happen, but this is atrocious.

Even the trailer that they have put it now, the description has Chaitanya’s name, and no mention of director. In the trailer, the credit has producer’s name first, and then comes director’s name. If it was some well know director, i wonder if they would have the guts to do something similar. Just because he is a new director, one can get away with anything.

WTF! And WHYTF! Anyone has a valid explanation?

Here’s the trailer

 

Abhishek Verma’s 12-minute long animated film Maacher Jhol (The Fish Curry) has won the “City Of Annecy” Award at the prestigious Annecy International Animated Film Festival. The award was started last year and was set up to support new filmmakers or films from emerging film markets, collaborative films or films that offer unique perspectives on the world we live in or the state of animation. It was selected in the “Perspectives” section of the fest. It also bagged the best short film award at the 8th Kashish Mumbai International Queer Film Festival.

Here’s the fest synopsis of the film –

Lalit, 28, decides to come out to his parents. In order to reveal his sexuality, seeking acceptance, he cooks his father’s favourite fish curry. Will his dad love the delicious dish?

Click here to read an interview of the filmmaker. And here’s the film’s trailer –

 

 

 

 

QALANDAR

Qalandar* – A 35 year old man from a village in Punjab (India) has to learn riding a Bicycle to get closer to his fleeting dream. A dabbler by nature. Music, cinema and books interest him, and thus, make him a complete misfit in his village and family.

His age and intellect becomes his biggest roadblock in learning cycling and such a trivial pursuit becomes the chase of his life.

To live up to his name, he has to find his way or his way would find him.

(*Qalandars are wandering ascetic Sufi dervishes)

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What does it takes to shoot a Short Film? A device, which is in your hand most of the times. In my case, it is my first independent film, (Director/Producer) so its pure courage. And sometimes, courage is more important than talent.

The thought of Qalandar has been living inside me for quite a few years. There’s a whole charm of riding a bicycle and why it seems like magic, when you balance a bicycle. You are actually defeating gravity in a way. I myself learnt it quite late in my life. I remember my Uncle reacted to this story idea by quoting Albert Einstein. “Life is just like riding a bicycle, to keep your balance, you must keep moving.”

The whole genesis of this film originated from a thought of someone not being able to do something very basic and is too old to even attempt that. Something, which can define your existence and masculinity. For the milieu, it was always a friend’s, (Kulwinder Harshaai)  home in Punjab, which came to my mind. I wanted to treat it like a feature film or my first step towards making a feature length film. One thing I was sure about that it has to be in the countryside, or it was my own aversion to cityscape which was also responsible for my location choice.

My friend Kulwinder Harshai, Creative Producer, apart from being my link to this village named Guruharsahai (in Ferozepur District of Punjab) is also the one on whom the protagonist of my story is based.  This film wouldn’t have been possible without him. He just opened the doors of his home and heart, and let us all in! From locations, sets, actors, accommodation, food & country made liquor to music, vocals and the dialogues of the film.

Though an independent film but I approached every department from the feature’s perspective. I was lucky the first technician who I shared the script with, came on board as the cinematographer, and Mihir Desai also ended up becoming my Co-Producer. This has been the best casting of the film!

Now our main objective was how we are going to tell the story on screen. I wanted to explore Punjab beyond the clichés of pop culture like mustard fields, hospitality, handsome men, bhangra, food & flamboyance. The Punjab etched up in my mind did have all this but primarily it had a serene and placid feel to it, which I’ve attempted to capture in the visual narrative.

I myself a product of pop-culture but my biggest grouse with it is that it never exercises its power to propagate the hidden gems of any culture; and is only interested in ‘selling’ culture as commodity. The land of five rivers, including the part in Pakistan, has given us poets like Shiv Kumar Batalavi, Paash, Amrita Pritam and Sahir Ludhanvi to name a few. And, if we delve deeper into the history Baba Farid, Bulleh Shah and Guru Nanak. I’ve seen Batalwi & Paash’s books being sold at popular places like bus stations in Punjab but the pop-culture chooses not to mention it at all!

Film making is a collaborative art, I knew and had seen it in the best of professional set ups in Bombay. And it’s ‘magic’ too, I saw this happening every day. The way one by one whole village came together to make sure Qalandar moves! Dev Verma, my associate, ushered them all from our side incredibly – from recording sync sound to making sure we cover everything on time.

The villagers never said ‘no’! The most beautiful example of this collaboration is the scene, when Qalandar is pushing the bicycle uphill. This hill, which we all called “Dali’s Hill” was made accessible by villagers. I guess the ‘Spirit’ scored over logistics or it was simply Punjabiyat, as we all say back home!

Since the story idea was based on Kulwinder’s life I had decided to cast him only as Qalandar…But as I got into the pre-production I realized, thankfully, I could either burden his gentle shoulders as an actor or a creative producer, not both, and I chose the latter.

Siddharth Sen, a professional actor based in Bombay, came on board as Qalandar. Siddharth transformed into Qalandar effortlessly and his quiet charm warmed up all of Kulwinder’s family, who were part of the film’s main cast. Siddharth, a keen observer just absorbed everything around him and that reflects in the subtler nuances of the film. The reason for casting Kulwinder’s family was essentially budget and equally the fact that raw actors bring certain truth to their performances which technically correct ones may not be able to!

Working with all of them was absolute pleasure. I just had to share the gist of moment with them and often capture the magic, or was it truth? This film is a combination of good accidents also. Qalandar’s Chacha, who works in the fields as a supervisor is an 80 year old man. He was one actor who improvised and was cracking jokes off camera! A real Qalandar!

Somi, who plays Qalandar’s nephew and confidante in the film is a trained Physiotherapist in Faridkot, Punjab. His love for Alia Bhatt and social media has become a part of my narrative as well. How Somi came up with his own lines, which became dialogues of the film is also memorable!

We finally managed to finish Qalandar’s shoot in five days. The film was edited on my personal laptop “Macbook Pro” with the help of my editor, John Joseph, and it took me six months of post-production to finish the film, since, I was working on Aamir Khan’s Secret Superstar simultaneously as a Script Supervisor. Indirectly it was my assignment with Aamir Khan Productions, which made Qalandar see light of the day!

We had a 35 minute long first cut, which was brought to 26 minutes. Now we decided to abandon editing the film and finalizing it. Mandar Kamalapurkar (Sound Designer) brought a certain kind of finesse and texture to the film. Mandar’s expertise took the film to another level! He was patient and professional at the same time.

Finally there are few names, which still helped this film but I cannot define their role. Pallavi Pethkar (Poster Design), Collin D’cunha (Talent Sourcing), Mohit Sharma (Ambal Productions), Shipan Vyas (Vfx), Mahak Gupta (DI), Priyarth Mukherjee, Kedar Sonar and Kasbah Digital. My apologies to those who are in my heart but my brain fails to recall!

To live up to his name he has to find his way or his way would find him: We too are on our way, it seems!

– Rohit Sharma

Qalandar premieres for the world on 3rd May, 2017 at the New York Indian Film Festival, New York. So if you are in NY, do catch it.

Screening info:
3rd May 6:15pm
Village East Cinema, New York, New York.

(Qalandar was also Shortlisted in MAMI Film Festival, 2016 (Mumbai) under Large Shorts Category. Winner of Best Screenplay- Jury in Indian World Film Festival, 2017 (Hyderabad, India), Official Selection, New York Indian Film Festival 2017)

 

 

 

 

 

 

Cannes Film Festival has announced the official selection of shorts for the 70th edition of the festival. Payal Kapadia’s short film, Afternoon Clouds, has been selected for the Cinéfondation forum.

Payal is a third-year student of direction at the Film and Television Institute of India (FTII), Pune. Her 13-minute short film is among 16 films chosen, from among 2,600 works submitted this year.

Afternoon Clouds depicts a 60-year old widow, who lives with her Nepali maid, Malati. The entire movie revolves around a single afternoon in their house. This film features Usha Naik and Trimala Adhikari.

A jury presided over by Romanian filmmaker Cristian Mungiu will decide the winners. The three Cinéfondation prizes will be awarded at a ceremony preceding the screening of the prize-winning films on Friday 26th May in the Buñuel Theatre.