Archive for the ‘Story / Plot / Synopsis’ Category

Sonali Cable was on our radar because it was selected for Mahindra Sundance Screenwriters Lab in 2012. It’s the debut film of Charudutt Acharya who has been writing for the small screen for a long time.

His bio from Mahindra site – Charudutt Acharya is an award winning writer of Indian TV drama shows like Haqeeqat, Kagaar, Jassi Jaise koi Nahin, Siddhanth, Rajuben &Crime Patrol. He has also co-written Hindi feature films Dum Maro Dum & Vaastushastra. Charudutt is a graduate of FTII, Pune and Royal Holloway, London.

FIRST LOOK OF SONALI CABLE 001FIRST LOOK OF SONALI CABLE 002

 

About the film (from release) –

SCIL (Super Cassettes Industries Limited), Ramesh Sippy Entertainment and NextGen Entertainment announces the release of their film ‘Sonali Cable’ on 3rd January 2014.

Sonali Cable is a ‘David versus Goliath’ story, in the thick of the cable internet turf war in Mumbai. An ordinary girl puts her love, life and survival at stake, when she and her ragtag team come in the way of the expansion plans of India’s largest corporation. The film wants to establish the growing corporate crushing small businesses without any scope for co existence.

The film is written and directed by debutant Charudutt Acharya with an ensemble cast that includes Rhea Chakraborty, Ali Fazal, Swanand Kirkire and Raghav Juyal (aka Crockroaxz), supported by accomplished veterans Smita Jayakar and Anupam Kher.

The film features a varied soundtrack showcasing the talents of Devi Shri Prasad, Ankit Tiwari, Mikey McCleary and Falak, with lyrics by Kausar Munir.

The first look of Richie Mehta’s new film, Siddharth, is out. The film will have its premiere at the 10th edition of Venice Days Program of the Biennale.

Venice Days is a separate festival within the Venice Fest and it runs during the entire duration of the main fest (August 28-Sept. 7). Its lineup includes 12 feature films, two shorts, three special events and two special screenings.

Here’s the trailer and synopsis of the film

SiddharthSIDDHARTH by Richie Mehta

With Rajesh Tailang, Tannishtha Chatterjee, Anurag Arora, Shobha Sharma Jassi, Geeta Agarwal Sharma, Naseeruddin Shah

India/Canada, World Premiere

Production: Poor Man’s Productions Ltd.

Mahendra works on street corners as a chain-wallah (a zipper-fixer), while his wife Suman stays at home with their two young children, twelve-year-old Siddharth and his sister. To contribute to the family budget, the boy is sent far away from home, from New Dehli to Ludhiana, where a relative has a job for him and a place to sleep. It seems like a dream come true to his father, until he realises that his son has vanished into thin air: kidnapped, perhaps, or dead. Mahendra learns how confusing the world beyond his front door really is, but that doesn´t stop him from stubbornly seeking Siddharth all over India, its cities and countryside combined. Co-written by its star and the director (who now lives in Canada), the film builds on the emotions of one man´s painful awakening, and shows a different, almost neorealist India, described with that ingredient of universal humanity that is Italian film´s gift to the world.

Bidesia In Bambai

“Bidesia in Bambai” is a story of music, migration and mobile phones. Ah, that sounds interesting – the title and its description. And what a gorgeous poster too. Not sure what exactly i was googling when i landed up on this blog. Just found out on Film Divison’s FB page that the first trailer of the film is out. Have a look.

For a better view, you can go directly to its vimeo page here.

Here’s more on the film (from the director’s blog) – Migration is the predominant theme in the music, and the phone is a recurring motif. Mobile phones are also used to circulate the music. And it’s the only way to stay connected to the mothers and wives back home in the village. This film follows two singers in Mumbai who occupy extreme ends of the migrant worker’s vibrant music scene, a taxi-driver chasing his first record deal and Kalpana, the star of the industry.

Film details – 86 minutes/2013/ Bhojpuri and Hindi/ with English subtitles/ INDIA

Screening – The film will have a screening in Mumbai on 20th July. You can follow the FD FB page for venue and other details. Hopefully they will update later on.

If you want to know more about the film, copy/pasting her latest post from the filmmaker’s blog

Bidesia is Bhojpuri for ‘the one who leaves home’. One in four migrants in Mumbai is Bhojpuria, a people from the north Indian states of Uttar Pradesh and Bihar. Bambai is their name for Mumbai/Bombay.

The bidesia in Bambai, like most recent migrants in this ‘global city’, inhabit the precarious edges of Mumbai. Along with his meagre belongings though, the impoverished migrant brings with him a vibrant musical culture.

Bhojpuri pop music is produced, circulated and performed in the crumbling sites that is home to the bidesia in the big city. Migration is the predominant theme in the music, and the mobile phone is a recurring motif in the songs. Frequently sexually charged, at times religious, often lyrical and occasionally political, the migrant is both the subject of, and the audience for this music. The musical landscape he inhabits mobilises notions of masculinity; gives form to his identity; makes tangible his desire for a place in the city; and evokes his longing for home.

This feature-length film attempts to make the migrant visible by celebrating the musical sphere that he inhabits, in a city that renders him illegal and unwanted.

– Click here to go to Surabhi Sharma’s blog.

Poster/Trailer courtsey – Surabhi’s blog.

Jaideep Sahni is one of my favourite screenwriters. And most probably, the best among the current lot. He has dabbled in various genres – from underworld saga (Company) to sports film (Chak De India), dramedy (Khosla Ka Ghosla) to rom-con (if i can say so, Bunty Aur Babli), and has delivered terrific results. His last film Rocket Singh – Salesman Of The Year didn’t work at box office but i liked it. Similarly, with Aaja Nachale, there was no critical acclaim neither box office but there were many bits in the film which were noteworthy. Also, when you go into the theatre to watch a Shah Rukh Khan film but come out remembering the names of about a dozen other characters played by completely new actors, you know that the writing is great. And that’s a rare achievement in India cinema.

Strangely, Sahni has never written a romantic film so far, as in dealing with just matters of heart. And that’s one of the reasons i am quite kicked about Shuddh Desi Romance.  The first three teasers of the film (here, here and here) completely stood out from the rest of the crowd. And i have been told that Sahni is the brain behind those three. Two teasers dipped in nostalgia of ek chidiya and last one with the customer care headache that has become part of our everyday life now. And today the theatrical trailer has come out. If you haven’t seen yet, have a look.

So what’s the film about?

Here’s what the cryptic official synopsis says…

Shuddh Desi RomanceDoes what starts physical always turn into love? And what reaches love, always turn into commitment? How do you figure out?

From the director of Band Baaja Baaraat and the writer of Chak De! India, comes a fresh and very real love story about the hair raising minefield between love, attraction and commitment SHUDDH DESI ROMANCE finally, a romantic comedy that tells it like it is.

Starring in this classy, candid look at the affairs of the heart in today’s desi heartland are the endearing Rishi Kapoor, exceptionally talented Sushant Singh Rajput, and the versatile Parineeti Chopra, along with debutant Vaani Kapoor.

Well, i can see the “shudd” part, the “desi” part but not sure about the “romance”. What’s new? What’s not been done? What will Sahni deliver? As the trailer doesn’t say much about the plot except the usual mood and feel of the characters and the place which was quite clear from the teasers also. Or is it Saathiya in small town with a new girl in the loop?

So what’s your take? What are you expecting? Do let us know in the comment section.

– Posted by @cilemsnob

Chor Chor Super Chor

Deepak Dobriyal has been missing in action for sometime. So it’s good to see him back, and that too in a leading role. Watch the trailer.

Official Synopsis

In the crowded bylanes of Old Delhi, Shukhla ji runs a photo studio that is a front for small time crime. Satbir, who is a part of this gang now wants to give up a life of vice and make a new beginning with his love interest – Neena. Is Neena’s keen interest in Satbir’s past only curiosity or is there a secret intent? Will Satbir finally win Neena? What happens to wannabe crooks Amol and Ronnie? Will Satbir be able to give up his life of crime?

Cast & Crew
Produced by: Ved Kataria & Renu Kataria
Directed by: K.Rajesh
Story: K.Rajesh
Screenplay: Ani Thomas & Radhakrishnan Cherpu
Dialogues: Alok Chaturvedi

Cast
Deepak Dobriyal, Priya Bhatija, Anshul Kataria, Paru Uma, Alok Chaturvedi, Brahma Mishra, Nitin Goel, Jagat Rawat, Chandrahas Tiwari, Anurag Arora, Shrikant Verma, Megh Pant, Avtar Sahani, Jatin Sarna, Gaurav Das

Production company: Katson Motion Pictures
Music by: Mangesh Dhakde
Cinematography by: Rakesh Haridas
Editing by: James.J. Valiakulathil
Sound Design: Niraj Gera
Art Direction: Suman Roy Mahapatra
Casting: Alok Chaturvedi
Lyrics & Choreography: Vibhu Puri
Executive Producer: Tushar Radhakisan Tupe

Bandhon-Poster-2

Jahnu Barua has won 11 National Awards. And there’s high chance that you might not have seen a single film of his, even if you are a die-hard film buff. The reasons and excuses can be many. So here’s your chance to change it. His latest film Baandhon is going to be released in 7 cities across the country, and with English subs. The film is being released under PVR Directors Rare banner and will have shows in Delhi, Mumbai, Kolkata, Chennai  (special screening on Saturday/Sunday), Bangalore, Pune and Ahmedabad.

– Baandhon (Waves of Silence) is the first Assamese film to be released outside the state. It is produced by the Assam State Film (Finance & Development) Corporation ltd. (ASFFDC) and has won the award for Best Assamese Feature Film at the 60th National Film Awards in 2012.  It opened the feature film section of Indian Panorama at the 43rd International Film Festival of India and was also screened at the International Film Festival of Kerala.

– The film is 96 minutes long and features Bishnu Kharghoria, Jatin Bora, Bina Patangia, Zerifa Wahid, Abastosh Bhuyan & Anshuman Bhuyan.

– Synopsis : Baandhon is a story of an elderly couple – Dandeswar and Hkawni whose lives are deeply impacted when their grandson goes missing in the attacks of 26/11 in Mumbai. The film captures the turmoil and the upheavals the couple goes through in trying to come to terms with the void that has been created in their lives forever.

And here’s the trailer of the film (with subs)

TRANLITE new low(1)

Filmmaker Anurag Kashyap and producer Guneet Monga under their banner, AKFPL, will be releasing SHORTS (a collection of 5 short films) on July 12 2013.

The films will be released by PVR Directors Rare across Mumbai, Delhi, Pune, Kolkata, Surat, Cochin, Ahmedabad and Bangalore in select theatres. The five shorts are directed by Shlok Sharma, Neeraj Ghaywan, Rohit Pandey, Siddharth Gupt and Anirban Roy. The films feature Huma Qureshi, Nawazuddin Siddiqui, Richa Chadda, Vineet Singh, Aditya Kumar, Ratnabali Bhattacharjee, Shweta Tripathy, Satya Anand, Preeti Singh among others.

Synopsis of the 5 Shorts –

1. SUJATA by Shlok Sharma

Starring: Huma Qureshi, Shweta Tripathi, Satya Anand & Aditya Kumar

– Sujata is a riveting tale of a young girl, who is struggling to come out of the clutches of her tormenting cousin brother. At a very young age, she is forced to live with her cousin and his family. Herein, begins a life of incessant harassment by her cousin brother.

Even as an adult she lives in the shadow of fear. For years, she changes addresses and identities in the hope of finding freedom; but each time he hunts her down. Neither the police, nor the NGOs are able to help her. Pushed to a corner, she decides to take the extreme step.

2. EPILOGUE by Siddharth Gupt

Starring: Richa Chaddha and Arjun Shrivastav

A relationship that has already fallen apart and is just about to snap. It describes the love and intimacy, the entangling of two lives and the completely symbiotic nature of a couple.

It reflects the possessiveness control isolation, depression and desperation that a relationship can lead to, representing a cycle that needs to be broken in order to keep sane.

3. AUDACITY by Anirban Roy

Starring Preeti Singh, Sankar Debnath and Kanchan Mullick

A thirteen-year-old girl has her first real confrontation with authority when her father forbids her to play the American dance music she loves. When she decides to take revenge, the situation escalates to become a neighbourhood scandal.

A dark comedy about parental authority, teenage rebellion, curry, whiskey, and house music.

4. MEHFUZ by Rohit Pandey

Starring: Nawazuddin Siddiqui and Aditi Khanna

In an ambiguous space and time. The city has turned mad, as violence has taken its toll. But, far away in the sounds of silence at the border of the town, a man takes care of all the death around. He drags away this usual routine with every passing night.

One night, he notices a strange woman wandering on empty streets. As her behavior changes, so does his journey.

5. SHOR by Neeraj Ghaywan

Starring: Vineet Singh and Ratnabali Bhattacharjee

Lallan and Meena, a couple from Banaras, are consumed by their pursuit to survive in the city of Mumbai. Meena takes up a job in a sewing factory.

One day over a phone call, they find each other while embracing death, divorce and redemption. It takes the darkest hour of our life, the fear of death, to regain our consciousness back in to life. To find the beauty that is lost in our relentless angst towards an unyielding life.

Since the release of Ek Thi Daayan, many of us have been looking for the short story on which it was based. We asked Konkona about it on twitter as it’s written by her father Mukul Sharma. She guided us to his blog where he had posted the short story. Those of you who missed it earlier, posting the story here after taking his permission.

And click here for a short interview of his on converting the short into a novella and then a screenplay.

ek_thi_daayan final

“Psst”

Misha looked up from the card house she was building to see her nine-year-old brother Bobo peek around the playroom door.

“What?” she asked, immediately interested.

“Want to see a trick?”

“Yes, yes!”

“No you’ll tell Daddy.” The head disappeared.

Misha jumped up upsetting the cards and ran out to the corridor. It was afternoon. And even though father would be sleeping, she didn’t want to take any chances. He had become so funny after mother died last year. Her wise eyes swept both ends of the corridor as she tiptoed to the outside door of the apartment. Reaching up — she was beginning to make it to the handle these days — she upped the latch and, very carefully or it would squeak, opened the door and stepped out into the eighth floor landing.

It was deserted. Her eyes darted to the two old fashioned elevator wells and saw one registered at the door. Through the tiny window she could see the lights on inside it along with some vague movements. Someone inside was doing something. Again on her toes, she went forward and pulled the door out a couple of inches. It was Bobo! He was standing in front of the button panel doing the funniest things. Once he pushed three buttons in at a time with his right hand while simultaneously jabbing in another couple with his left. Then, pointing one finger of each hand at the two rows, he alternately pressed one button of each row. When he did that, the overhead light seemed to dim a little. Misha opened the door fully. Bobo spun around.

“Why did you come?” he whispered angrily.

“What are you doing? Is this the secret?”

“Yes it is,” he said, “but I’m not going to tell you.”

“Please, please.”

“You’ll tell.”

“No, no I promise. I really promise.”

“Okay come, I’ll show you.”

She went inside. He put his finger to his lips, cautioning her to keep quiet.

“I need a lot of concentration to set it,” he said solemnly. Whenever he spoke like that, Misha knew he was really serious about something. He was only two years older than her but far more intelligent and could do a lot of interesting things with his hands. Like the time he had taught her how to control her dreams by moving her fingers in a special way for instance, and she deliberately dreamt of mother ten nights in a row. Now, with his back to her, he was fiddling with the buttons again.

“There,” he said turning around, “I’ve set it now. Watch what happens when I press the ‘G’ button.”

As he did, the lights dimmed once again and, slowly, the elevator began to descend. There was nothing like a trick to it at all thought Misha. It was going down like it did every time she went down in it herself. The ‘7’ of the seventh floor, written between the floor walls, flashed by the window, followed by the ‘6’ of the sixth floor and the ‘5’ of the fifth.

“Where’s the trick Bobo?”

“Wait,” he said impatiently, his eyes on the window.

Misha looked into his face, trying to read his thoughts. She could do it sometimes. She could usually guess when father would wake up, for example. When she looked back at the window, the ‘2’ of the second floor was just going by. She hoped the janitor wouldn’t see her downstairs because then father would know she’d been out of the house in the afternoon. The ‘1’ went by as she was thinking of what excuse she would have to give. Then, without any fuss and at absolutely the same speed, the trick unfolded. The ‘G’ of the ground floor also flashed by and there was no basement below their building.

It took her a moment to comprehend what was happening but when she did there was a thrilling sense of re-orientation. She whirled on Bobo who was standing there looking very pleased with himself. “That was a good trick!” she said clapping her hands gleefully in excitement, “Where are we going now? How far down?”

“Oh, a little way,” he replied mysteriously.

“What’s down there?”

“A playground I think, I’m not sure. I’ve only been down once before. Look!” he said pointing at the window suddenly.

Misha saw a small weeping child’s face flash by the window. It was a round lonely face about the same age as herself or a little older. Then another face flashed by, then another — there were lots of them. They stopped as suddenly as they had begun.

“Who are those Bobo?”

“Orphans,” he said knowingly, playing with the buttons again. “Keep watching.”

Misha looked up back at the window but there was nothing there. Just blackness outside. Suddenly a face came into it and scared her. It was a middle-aged women with long stringy hair and a snarled, unwashed face and whose hands clawed at the window glass desperately as she passed. Then there was blackness once more. Then that same face went by again. The faces quickly multiplied and rolled which Misha didn’t like at all. She was very frightened.

“Stop it now Bobo, I’m scared.”

“I have stopped it silly. We’re going up now. You can’t make out because it’s so black outside.”

They stood in silence. Nothing passed in front of them anymore.

“Who was the other person who came so many times Bobo?”

“A stepmother I think.”

“If,” said Misha with a far away look in her eyes, “I had a cruel stepmother, I’d like to put her in there too. You’d have to help me though.”

“Of course I’d have to help you. I’d have to set it for you first, wouldn’t I? Then when she came and pressed the button for ground floor, she’d automatically be taken right down to where we went and when the elevator finally stopped, they’d open the door and take her out and keep her. She’d never have stepchildren again to be cruel to.”

“Don’t you wish we had a cruel stepmother Bobo?”

*

“You’re lying!”

“God promise Daddy, I was in my room all afternoon just like you told me to.”

Mr Kapoor got off the rocking chair and advanced towards Misha till he was almost towering over her. Misha’s hands were ready to ward off a slap. Instead, he just bent his great body down till his face was inches away from hers and said in a soft, menacing voice:

“The janitor saw you downstairs. That’s how I know you’re lying.”

“But he couldn’t have,” blurted Misha, “I only . . .”

“That’s better. You only what?”

“Bobo was showing me something inside the elevator and . . .”

Mr Kapoor almost exploded in anger. “I don’t want to hear about your imaginary brother one more time, you understand?”

Misha nodded.

“I don’t know what pleasure you get in making all this up.”

But with that, to Misha’s great relief, he stalked away to his study. Misha went back to her broken card house.

*

Mrs Kapoor stood in front of the mirror in her petticoat and blouse and liked what she saw. Her dresses still showed her body off with magnificent ease. Her low-cut blouse for instance, not only cupped her large breasts firmly, but all too often tended to reveal their top halves each time her georgette saris slid carelessly off her ample front. She neither looked nor felt forty. Not even when Mrs Nandy, her rummy playing partner whose house she was on her way to right now, said all those snide things behind her back about her wrinkles. The girls at the afternoon’s session were going to be envious again.

She put on the sari, applied eye shadow, mascara, lip gloss and a bindi, in that order and went out into the landing. The elevator arrived moments later. She opened the door and went in.

She pressed the ‘G’ absentmindedly, opened her handbag and took out the bottle of Dior. So absorbed was she in spraying her cleavage that she hardly noticed that as the lift started descending, the overhead lights had dimmed a little. But then Mrs Kapoor’s mind was on other things. On her husband for one. He had told her to wait downstairs at 2.30 sharp where he’d pick her up from without having to go upstairs. She was hoping he would be on time. She hated waiting downstairs with all the servants, drivers and maids who worked in the building pretending they weren’t ogling her. On the other hand she hoped she herself was not late because he could be really irritable then. That made her panic. She glanced at the window to see which floor she had come to and saw the ‘2’ slide past and impatiently began counting the seconds of the ‘1’. Six seconds later it came into view and went. Exactly six seconds after that the ‘G’ too impassively slid past — like it was the most natural thing in the world.

Disbelief slammed Mrs Kapoor’s face into a cold statue of terror as everything from her gut to her mind caved in at the absurdity. Only a dumb vestige of curiosity still made her look zombielike into the window’s fascinating rectangle in silent slow-motion as it turned into a mirror in front of her and all she saw was her contorted face everywhere in it. She lunged on the button panel and jammed her fingers into the emergency bell push. An incredibly loud jangle exploded somewhere over her head and began falling off in intensity almost immediately as if the sound source were receding.

And Mrs Kapoor dug her frenzied hands into her hair above both ears and ruined her lovely, pulled back bun at the nape. Then, as her eyes locked with those of a little boy and girl in the mirror, she spun away to the rear wall and clawed at its smooth self-designed surface till she collapsed on the floor, eyes open unstaring, kicking, kicking and kicking at the red georgette sari strangling her from all over until the elevator stopped.

The janitor looked in astonishment at the spectacle at his feet in front of him. Others who had come running hearing the emergency bell found him gaping at a fantastically writhing red form in the elevator, which was now human, now an animal grunting savagely, howling insanities, talking of stepchildren, tearing her clothes, with saliva all over her chin.

Until a small crowd had gathered and Mr Kapoor, her tall, powerful husband, arrived to extricate his spitting raging wife in a mess of clothes and tears, screaming for all to hear, that her stepchildren had done this while her husband, facing her in total incredulity, kept mechanically repeating, as if that would bring her back to him, that they had no children, or stepchildren, at all.

AjobaAt 25, Sujay Dahake made an assured debut with his nostalgia-dipped Shala. We all loved the film, had recco-ed it (here) and did a podcast with the director (here). The film was lying in cans for sometime, got a limited release initially and then went on to become critical and commercial hit.

Sujay is back with a new film titled Ajoba. The first trailer of the film is just out. Based on real events, it stars Urmila Matondkar and Yashpal Sharma. Have a look.

It looks so interesting but more than a trailer it looks like a short film. What do you guys think? Do comment and let us know.

And here’s the official synopsis –

Big Cat’s Big Adventure. Malshej to Mumbai in 29 days: Ajoba the leopard’s ambitious trek. Ajoba was rescued from a well and a tracking device was fixed on his neck, before being released back into the wild. He turned out to be one adventurous cat, as he made his way to Mumbai over the Sahyadris, i.e a cool 120kms.

– To know more about the film, click here for its FB page.

guide gufraan official poster

This came in our mailbox. We don’t know anyone connected with this film, but it looks damn interesting – the poster and the trailer. So we are featuring the first look of this 50min long feature Guide Gufraan here. Directed by Ayushman Mitra, a graduate from Calcutta’s St Xavier’s  College. It’s made with the help of his friends from Xavier’s who have formed a group called Backgate Studio. Have a look.

Synopsis:

Raas, the cosmic meeting of opposite energies, is the cornerstone of all creation. Raas is widely illustrated as a celebration of love with an important involvement of dance and music. A few stories of love live beyond the boundaries of time and society; Krishna’s ‘raas’ is a timeless tale of erotica and passion. For most, he is more human than god. What is amazing is the acceptance that he receives from a conservative society like ours.

Guide Gufraan is Pasha’s journey from repression to acceptance of his own self. As he enters the city of Calcutta to retrace his past and seek spiritual asylum, where questions are asked and many are left unanswered, he begins an exploration of the self, the self he is desperately running away from, challenging his quest for peace. Finally, a city guide acts as the catalyst and pushes him to the limits till he embraces his true self. It is a celebration of acceptance, as people choose to live liberated lives shunning the social stigmas on love, sex and relationships. People come together and tear apart, some are fondly remembered, while some disappear into the chaotic rhythm of the ‘raas’. It is only natural that Krishna in the Mahabharata essays the role of a ‘sarathi’, in other words, a guide.

Cast & credit :

Cast: Ayushman Mitra, Sreemoyee Kasturi Banerjee, Neeraj Dugar, Sneha Ghosh, Zoheb Akbar, Yashodhara Basu Mallick, Sharmistha Jha, Urmila Subhadra Majumdar, Gautam Vir Prashad and Gosto Kumar

Director: Ayushman Mitra

Story & Screenplay: Ayushman Mitra , Sreemoyee Kasturi Banerjee

Director of Photography: Gairik Sarkar, Rusha Bose

Editor: Gairik Sarkar Creative

Producer: Rohini Ghosh

Music: Sambit Chatterjee, Yudhajit Biswas, Ronodeep Bose

Production Designer: Ayushman Mitra

Production Manager: Anirvan Sengupta

Costumes: Sneha Ghosh

Co-Producers: Sumit Mitra, Srijon Kaushik Banerjee

—> For any queries about the film, you can write to anirvansengupta91@gmail.com