Gitanjali Rao’s True Love Story : Poster, Trailer. Watch her Cannes winning film ‘Printed Rainbow’

Posted: February 13, 2014 by moifightclub in animation, cinema, first look, Posters, short film, Trailer, video
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True Love Story

Gitanjali Rao’s new animation film ‘True Love Story’ bagged the Golden Conch Award for Best Animation Film at the recently concluded Mumbai International Film Festival. This 18 minute animation, set in the streets of Mumbai explores what happens when the ultimate Bollywood fantasy is applied in reality.  It gives glimpse into the influence of Bollywood on real life in Mumbai, told through puppet animation.

Here’s the trailer of the film

More about the film from Scroll – It’s a frame by frame painted 19-minute film about love, told from the eyes of two migrants who come to Mumbai and fall in love with each other. The boy in the film is hugely influenced by Bollywood and he falls in love with the girl across the street. Who will teach him how to woo her? This is a boy-meets-girl story, from the perspective of people who find themselves adrift in the big city.

As we have said million times in the past, and still keep repeating ourselves, if you have not seen Rao’s work, you have not seen the best animation that this country has produced. So we are embedding one of her popular animation films here. Do watch.

From her official website –

‘Printed Rainbow’ describes the loneliness of an old woman and her cat, who escape into the fantastical world of match box covers.

Gitanjali painted the entire film frame by frame over three years as a labour of love dedicated to her mother and cat. The film went on to premier in Cannes in 2006 and won her the first set of laurels with three Awards for the Best Short film in Critic’s Week, Cannes 2006. Then followed 22 international awards and screenings in over a hundred international festivals.

– She also did the delicious opening credits of Stanley Ka Dabba. To know more about her work and films, click here.

Gulabi Gang to come before Gulaab Gang. And Nishtha Jain clarifies on GG vs GG

Posted: February 13, 2014 by moifightclub in bollywood, cinema, Documentary, Indie, News
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Gulabi Gang

So far we have been hearing about Madhuri Dixit and Juhi Chawala starrer Gulaab Gang directed by Soumik Sen. And now, there’s a twist in the tale. A documentary film titled Gulabi Gang by Nishtha Jain is all set to release before the Bollywood feature. Interestingly, both the films explore the same subject. Our guess is the bollywood film will have much more to it than just the story of Sampat Pal and her Gulabi Gang.

Gulaab Gang is set to release on 7th March, 2014. And PVR Cinemas is releasing the documentary Gulabi Gang on 21st February. Its presented by Sohum Shah, actor-producer of Ship Of Theseus. The film has been doing the festival rounds for quite some time. It also won the Best Director Award in the International Competition section of the recently concluded Mumbai International Film Festival (MIFF) of Shorts, Docus and Animation.

Here’s the trailer of the film –

With the comparisons being made, recently Nishtha clarified few things on her FB post. We are copy-pasting it here –

I’m dismayed and partially amused with a lot of wrong reporting in the print and audio-visual media about my views on the Bollywood film Gulaab Gang, about my own film and it’s theatrical release. I guess I should have expected that nuances will get lost but some of the stuff the media has been putting in my mouth is blatant lies. I just want to clarify that:

1. I have not given the name Gulabi Gang to this group of women. They have been working in Bundelkhand since 2006 under this banner. I’ve only made a documentary about their work. This is not the first or the last film on them. There have been many before and I’m sure there’ll be more. And Budelkhand is not a village it’s a linguistic region of UP and MP.

2. Also I’ve never said that the Bollywood film Gulaab Gang is based on my film. I’ve not seen the film, only their trailer. The makers of Gulaab Gang didn’t need to take permission from me but from the real group called Gulabi Gang for using their name, concept etc.

3. I have never said that mine is the first documentary to be released in India, there have been many before.

4. I have never said my film is entertaining. Yes it is in parts but the words I have been using are engaging, engrossing, disturbing, grey, complex etc. Maybe in common parlance that makes the film entertaining.

5. And this quote which is being curculated bereft of it’s original context “I’m not an ‘activist-filmmaker’. Nor am I ‘woman-filmmaker”. This is what I had said in answer to the question by Dear Cinema:

Dear Cinema: In India, most documentary filmmakers are also activists in their own right. How do you see yourself in that light?

Nishtha Jain: I’m not an ‘activist-filmmaker’. Nor am I ‘woman-filmmaker’. I don’t like all these labels. I’m a filmmaker, a feminist and when the need arises, an activist. My films grow out of my world view and interests.

– To know more about Gulabi Gang, click here.

– To read Nishtha Jain’s interview on the film, click here.

Read the poetry. Guess the film.

Posted: February 13, 2014 by moifightclub in cinema, Hollywood
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It started on Twitter. Just as a casual conversation. We thought it would be fun to share it here too. So here it goes – first one in English, second one in Hindi. First one gives you all the hints. Easy to guess. Second one was written just like that. The writer saw a film and wrote it.

Here’s the first one –

BgSYIRICUAA9pEY

Now guess the film.

It’s written by Parth Vyas and was shared by Dhruve Gandhi.

Second one is written by Shashank Kumar. And came via Varun Grover.

घर में बेतरतीब पड़े हैं लम्हे:
रसोई में जाकर
कुकर से मांगता हूँ थोड़ी भाप
चश्मे पोंछने के लिए,

उम्र की गर्द इकठ्ठा है पेशानी पर,
गुसल में जाकर
साबुन से मांगता हूँ थोड़ी झाग
माथे की सलवटें साफ़ करने को

ठण्ड से सिकुड़ा हुआ है दिल
बालकनी से
थोड़ी सी धूप ले कर आता हूँ;
भीगी हुई हैं आँखें,
पर्दों पर टांग कर सुखाता हूँ

घर में बेतरतीब पड़े हैं लम्हे:
इधर उधर बिखरे हैं
बस कि काम चल जाता है जरुरत भर
लेकिन, घर बड़ा बेढब सा दीखता है

ऐसे में कोई आये तो क्या सोचेगा,
अच्छा है कि आजकल यूँ भी
आते नहीं हो तुम!

You might think of many films after reading this one. But this was the writer’s note when he shared the Hindi poetry – XXXXX YYYYYYY dekhi (paas me thi, lekin aapke ek tweet ke baad ek-a-ek yaad aaya ki dekhi nahi abhi tak), beech me hi kuchh likhne jaisa feel hua, fir socha ki aapko bhej doon so haazir hai.

Try if you can guess the movie title from number of X and Ys – XXXXX YYYYYY.

Rajat Kapoor’s Ankhon Dekhi: Trailer, Poster and Synopsis

Posted: February 12, 2014 by moifightclub in cinema, first look, Indie, Poster, Trailer
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Ankhon Dekhi Poster

We are a bit late on this one, but we still thought we ought to feature it nevertheless. The poster and trailer of Rajat Kapoor’s Ankhon Dekhi arrived online sometime back- and while we are not quite sure how well they sell the film or convey what it’s really about- they give us a feel of the world it’s set in.

Some of us happened to see the film a while back and the reactions were pretty good. It’s an oddball, quirky film that goes through some distinct shifts of tone but always remains interesting and thought provoking. It’s also powered by some good performances from a strong cast led by Sanjay Mishra.

Here’s the trailer of the film, followed by the synopsis:

‘Ankhon Dekhi’ is the story about ‘Bauji’, a 55 year old man, who lives a dreary but eventful life in a joint family, that shares a small house cramped with people and drama. One day Bauji has an epiphany and decides that from that point on he would only believe what he sees with his own eyes, nothing else can be certain. There are a quite a few challenges on his onward journey- but Bauji never loses sight of what is before his eyes.

Produced by Manish Mundra, the film has been written and directed by Rajat Kapoor, who also stars in the film. ‘Aankhon Dekhi’ also features Sanjay Mishra, Seema Pahwa, Taranjeet, Maya Sarao, Namit Das, Brijendra Kala and Manu Rishi Chadha.

Varun Grover, lyricist and our editorial member, has written the songs for the film.

And here we have an interview of Rajat Kapoor where he speaks about Ankhon Dekhi and the challenges of making his brand of cinema.

Dear Favourite Fatso, Goodbye!

Posted: February 3, 2014 by moifightclub in Hollywood, RIP
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PSH

As this year’s Sundance selection list came out, a friend from Calcutta pinged me on whatsapp, and asked why am i not going to Sundance. I asked why. He said two new films of Philip Seymour Hoffman are premiering this year. I told him i am sending my man to get the job done. I was serious about it, but it was too early to let the news out.

A close friend and editorial team member of this blog, Neeraj Ghaywan, was selected to get the Mahindra Sundance Award. As our long chain mail between usual suspects went on and on about who wants what from Sundance – this bag, that merchandise, those liquor, that Quinoa, i said get me PSH. I never chase actors, they all are of the same breed, and mostly, boring. Have never bothered for anyone’s autograph or photograph – be it Hollywood or bollywood. It’s always the writers and directors whose tales attract me. But PSH was different. I reminded him again and again to get me his autograph on one of the posters of his new films. But if the film turned out to be bad? Well, it never mattered how the film was going to be. Because Hoffman was always great, in every bad film too.

Neeraj reached Sundance. Updated us about what he has got and what he hasn’t. I reminded him again – Get me PSH! He said he can’t find him. I joked how it is possible to not spot such a fat man. He can’t hide anywhere. I don’t know why i was insisting so much on getting his autograph this time. Because there have been few occasions in the past where i could have managed it. Always wanted it, and always thought i will manage it some day. So never pushed the way i did this time. Now, it all makes sense. Maybe that thing call intuition.

Few years back, as a friend updated me about how he came for the screening of their films at her film school in NY as he was executive producer on one of the shorts, i asked everything possible about him. As another friend saw one of his theatre act live, and narrated the experience, i would get gooseflesh imagining myself in place of him and thinking about his act in front of my eyes. Simply because he was one of my all time favourite actor. And one of the greatest actors of this generation.

It was Magnolia when i sat up and took notice of Hoffman’s talent for the first time. And then went back tracking him in all those small roles. The fat guy in supporting roles with hardly any screen time but making an impression in every role he portrayed – from Scent Of A Woman to Boogie Night, Hard Eight to Happiness. A drag act in Flawless to a suspicious act in The Talenetd Mr. Ripley. As he started getting noticed, meatier roles came his way, screen time increased, and so did his weight. And i always found that it worked in his favour. An actor so fat, it always made him look like he was one of us – not fit, never in perfect shape. Few actors are so fat. And among those, most just use their body as a prop for comedy. That’s the general routine. Fat actors in serious roles are a rare breed (Yes, Gandolfini too). A character actor who gradually when on to become the leading man with all his weight intact, he became my favourite fatso. In any conversation whenever we would talk about films and acting, i would call PSH exactly that – favourite fatso. It made me feel as if it was all cool and casual between us, as if i knew him well, and could joke about his weight like we do with close friends.

So when he portrayed any character, it just added a natural layer to it. He always looked like that distant uncle whom you are fond of, one who would give you a bear hug on a bad day, share a beer with you after yet another heart break, and will tell you stories about love, life and experiences of yesteryear.

When i watched him in Almost Famous, that was my first lesson in journalism – Be honest, and unmerciful. I thought was it really like that. Uncool? Few years later as i landed in bollywood, it turned out to be the ultimate truth. Just replace the rock scene with bollywood films. When i watched him down and out in Love Liza, i wanted to hug him and tell that his plane will fly the best. Whenever i have got angry on phone, i remember his SHUT UP, SHUT THE FUCK UP, SHUT SHUT SHUT SHUT SHUT SHUT UP in Punch Drunk Love, and have always felt shouting exactly like that. When he got his first sex scene with Marisa Tomei in Before The Devil Knows You Are Dead, i jumped with joy and shouted YAY! He finally got one. Fat man can fuck! Why should only the Greek Gods with bulging biceps get sex scenes in Hollywood. Graduating from a creepy phone sex to a real deal, i was the happiest as if a close friend of my just lost his virginity, and that too with Marisa Tomei. Only difference was this time it was on screen. And when i decided to learn swimming, many a times i would imagine that i will bump into Jack on the other end of the pool, struggling exactly like me as he did in Jack Goes Boating,

He made it difficult to believe that he wasn’t the real Dan Mahowny, or the real Truman Capote. And then came one of my favourite films starring Hoffman – The Savages. I saw my reflection in the role he portrayed, that bittersweet sibling equation, and it made me face my own fears. “Excuse me, we haven’t served refreshments yet” bit still brings a smile on my face. Watch this gem if you haven’t.

When the news came out of his collaboration with one of my favourite screenwriter, Charlie Kaufman, i tracked every possible news about it. The expectations were too high. The film left me bit cold with all its complexities, but i could not imagine any other actor who could pull that off with so much ease. He was the Caden Cotard who taught me what “Cotard’s Syndrome” is.

He held his own in front of Meryl Streep in Doubt, he made fat look cool in The Boat That Rocked. If i start counting all his films, the list is long – Charlie Wilson’s War, Moneyball,  The Ides Of March, and one of the most powerful roles in recent times – The Master.  The hypnosis he could do on screen always felt real. Has he ever done a film where you don’t remember him? Naah, i don’t recall.

As far as the autograph story goes, now it feels like Mary and Max story – an animation film which he voiced. There were no letters between us, i guess his films were enough. And like Mary, i also got bit late. Do watch this gem too if you haven’t.

Thanks for all the movies and the memories, PSH. I don’t understand actors. You were the one whom i really loved, respected, and was in total awe. It’s been 24 hours now, and it’s still difficult to believe that there won’t be any new film starring The Philip Seymour Hoffman.

– From a fanboy NotSoSnob

PSH1

(PS – As far as drugs go, we all got our demons to battle. Sometimes we win, sometimes they. It’s not a choice, and it’s not easy either. So keep your judgements for some other day, for some other things)

Highway Music – Nashe mein ud jaaye re haaye re

Posted: January 27, 2014 by moifightclub in cinema
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what’s the best thing about 2014 so far? Well, a new A R Rahman album is already out. Hallelujah! And over to our music man Rohwit for some musing on maestro’s music.

So the periodical excite-fest for music lovers (Also known as AR Rahman’s new album release time) blessed us early this year. Lyrics are penned by Irshad ‘dependable’ kamil and Kash-Krissy

Patakha guddi – A lot of techno and synth sound accompanies the electric duo of Sultana and Jyoti Nooran who are fierce to say the least. The arrangement is not complex. As has been his habit off late, AR Rahman keeps the ‘hook’ of the song almost non existent. The song just flows and sways you in the process. The words of Irshad Kamil are no less Patakha, mind you. If you see people forming a ‘train’ on the dance floor to a 2014 film song, this would be it.

Maahi ve* – AR Rahman on the microphone again. The song gives you a feel as if it was to be (tune wise) a part of the album ‘Jaane Tu Ya Jaane Na’. No doubt this is a long drive song with a simple and ‘sticky on lips’ tune. It also gives out that feeling when (no matter how fucked up things are), you want to believe, everything is fine just because the special someone is with you.

Kahaan ho main* – is sung by Jonita Gandhi. The arrangement and the overall presentation of the song (at least when you hear it) doesn’t sound like it will fit into a film that has a truck driver and a kidnapped village girl in the lead. The extensive use of keyboard lends a very hoity-toity character to the song in context of the film. Would be interesting to see how this pans out on the screen. The song is hummable in a very ‘1990s sung by Kavita Krishnamurthy’ way. Also, the overall feel has a very ‘Meena Kumari complex’ feel to it.

Wanna mash up* –  In the days when anything ‘hep’ has to include ‘kaan-faad’ dubstep, ARR avoids the overuse of the same and gives us this vrooming piece of beauty! Kash, Krissy and Suvi Suresh have jointly penned this bombshell of a song that is guaranteed to take you back to ‘You either HATE it or LOVE it’ times of AR Rahman’s music. It teases and tempts in ways we thought were never possible with A R Rahman at the helm (Lemme dominate your body! Ahem!) . Oh the calls of ‘BOY!’ Hell with the context of the film, give me this any day! All Thumbs up on the way the song ends/climaxes! No pun intended.

Sooha Saha – Zeb and Alia Bhatt jointly present this delicate song with superlative arrangement by Rahman. Don’t worry if at times you feel someone will go ‘Kya bataaaon maa kahan hu main’ from Luka chupi. Thank God that Zeb hasn’t allowed herself to be ‘Rahat-Fateh-Ali-Khan-ised’, so you can expect something new from every song she chooses for our films. At times sounding like a doting mother, Zeb lends so much depth to the song! Alia Bhatt does a good job in adding the innocence to the song. The violins towards the end is a touch of genius. A song जो सीधा कलेजे को छूता है.

Patakha Guddi (AR Rahman) –  Many a times, I have felt that AR Rahman and Sachin Tendulkar have been put under so much pressure that they stopped having fun at work. This song is where we hear AR Rahman going bezerk! Excellent Prasanna gets mad on electric guitar towards the end in a song that is layered unlike it’s female version. Don’t get fooled by the subdued start that the song has. It is explosive by the time ends! Kudos to Rahman for attempting Punjabi and double kudos for his ‘naam rab da naam sai da’ chanting. You don’t get Goosebumps, You get Goosemountains!

Implosive Silence* – is sung by Jonita Gandhi. Kash and Krissy have penned whatever there was to ‘pen’ in the song. The arrangement remains hauntingly simple. The song appears to be sung in reverse (or treated like that). Let’s accept it, we do look forward to an ‘instrumental’ piece in A R Rahman’s album. We have been treated like royalty since ‘Bombay theme’ days and this piece here does the same and goes a step forward. Top class composition and top class atmosphere. Too much feel without words, trademark Rahman!

Tu Kuja –  a traditional song sung by Sunidhi Chauhan gives out a trance like feel from the beginning that stays throughout. An old composition in which Irshad Kamil has added Hindi words to make it relatable. Arrangement wise, the song sounds cluttered, and you are left with the feeling that it should have been sung by Rahman himself. It’s not a bad song, just that in comparison to the level of the album, it pales a bit.

Heera* –  is an old writing by Saint Kabir that has been presented by Rahman in his trademark ‘grand’ style with enough Violins to make you cry with pleasure. Shweta Pandit has sung this in an almost whisper like fashion which compliments the overall feel of the song (For a second, we thought it’s Tulsi Kumar who is singing…o the horror!)

Irshad Kamil is ‘Vishal-Gulzar’-ing with A R Rahman very fast and that’s such a delight to witness.

We have always believed that an album has to compliment the overall feel of the film. While we don’t know how the ‘hoity-toity’ numbers would compliment the feel of the film, we give a thumbs up to this album!

You see the *mark ahead of songs? Those are the songs we feel are a bit hoity-toity under the context that has been set by the teaser/trailer of the film so far.

AR Rahman saar, you remind us of the worldspace tagline…There is so much to listen (when you are at the helm!)

What we couldn’t understand – What’s with the sound quality of the album? ARR is known to be very careful around the same but this album sounds just like the old fake Jai-Mata-Di-cassettes which were a cheaper alternative to HMV cassettes. We understand T-Series owner said that he doesn’t need good musicians to sell music, but, sir, are you sure of what you are selling?

Fund A Film (FAF) – Pushpendar Singh’s Lajwanti (The Honor Keeper)

Posted: January 22, 2014 by moifightclub in cinema, FAF (Fund A Film), Indie
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We have always tried to spread the good word about various crowd-funded projects through our blog. Here’s one more film which looks interesting and you can contribute to its making.

shoot3

Film

Lajwanti (The Honour Keeper) directed by Pushpendra Singh has been selected for the 44th edition of the Berlinale Forum, a section of the Berlin International Film Festival that showcases independent, artistic filmmaking with a disregard for convention. Berlinale Forum will screen twenty-eight world and eight international premieres this year.

Official Synopsis

A group of women, in their daily long walk to collect water, recite songs and exchange words that reveal their hidden desires. But, one day, when a crazy dreamer whose only passion is collecting doves crosses their path, one of them, Lajwanti, starts a journey that will take her out of this closed world. She leaves the group when she cannot tolerate their banter and starts walking the long distance alone.

The silence and determination of the man with the doves becomes a curiosity for her and she decides to find more about him. But when the man does not show much interest in her advances, she feels betrayed by her beauty. Her dreams change from being driven by fear to dreams of courage. The veil starts disappearing and a new world opens to her. Will she overcome her dreams driven by fear to keep the honour of that man’s dream rather than that of the society? Will she be able to undo her social conditioning and find her true self?

Trailer

Filmmaker

An alumnus of the Film &Television Institute of India, Pune and Berlin Talent Campus, Pushpendra began his career as an actor playing one of the leads in AmitDutta’s Venice award winning film ‘Aadmi Ki AuratAur Anya Kahaniya’. He then went on to assist AmitDutta on his next feature ‘Nainsukh’ and the latest ‘SattviSair- The seventh walk’. He has also assisted Anup Singh on his award winning feature ‘Qissa- The ghost is a lonely traveler’.  His other credits include acting in the German feature ‘Asta Transfer’ directed by Maximilian Linz which is in its post-production and in the theatre with Barry John on his Honey Trilogy.

Currently he teaches at the Film & Television Institute of India, Pune. Lajwantiis his first feature film as a director.

Why they need the funding

– You can contribute anything between Rs 99 to 50,000. So far the film has managed to collect just 20% of the funding it needs. So do contribute to its making. Lets make it happen.

– Click here to go to its Catapooolt page where you can read more about the film and can make your contribution.

Neeraj Ghaywan bags Sundance Institute | Mahindra Global Filmmaking Award

Posted: January 22, 2014 by moifightclub in Awards, cinema, Film Festival, Indie, World Cinema
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If you are regular reader of the blog, you probably know his name. Neeraj Ghaywan is part of the editorial team and is a regular contributor to the blog. So it’s a great news for all of us. Yay! Yay! Yay!

Sundance Institute and Mahindra today announced the winners of the 2014 Sundance Institute | Mahindra Global Filmmaking Award, in recognition and support of emerging independent filmmakers from around the world. The winning directors and projects are Hong Khaou, MONSOON from Vietnam/UK; Tobias Lindholm, A WAR from Denmark; Ashlee Page, ARCHIVE from Australia; and Neeraj Ghaywan, FLY AWAY SOLO from India.

– Each of the four winning filmmakers will receive a cash award of $10,000, attendance at the Sundance Film Festival for targeted industry and creative meetings, year-round mentoring from Institute staff and creative advisors, eligibility to participate in a Sundance Institute Lab, and ongoing creative and strategic support from Sundance Institute’s renowned Feature Film Program.

More details about the winners and their films –

Hong Khaou / MONSOON (Vietnam/UK): Two young men visit present day Vietnam, and are confronted with the war’s ramifications nearly forty years after its end.

Hong Khaou’s debut feature film Lilting premiered in World Cinema Competition at the 2014 Sundance Film Festival.  The film stars Ben Whishaw and Cheng Pei Pei. He is also the director of three short films, including Spring, which premiered at the 2011 Sundance Film Festival, and Summer, which premiered at the 2006 Berlinale. This year, Hong was named one of the Stars of Tomorrow by Screen International.

Tobias Lindholm / A WAR (Denmark):  The major of a Danish unit in Afghanistan faces the consequences of his actions in the aftermath of his most dangerous mission..

Tobias Lindholm graduated as a screenwriter from the National Film School of Denmark in 2007, and has collaborated with Thomas Vinterberg as co-writer on Submarino and Oscar nominee The Hunt. In 2010 he wrote and directed his first feature film in collaboration with Michael Noer, and in 2012 he wrote and directed the critical acclaimed A hijacking.

Ashlee Page / ARCHIVE (Australia): With the help of a supercomputer, an isolated 16-year-old girl grows plant life on Saturn’s moon Titan in the hope of one day restoring Earth’s ecosystems. But when an unexpected accident leads her to the moon’s surface, she discovers evidence that her mission is a lie and that her life is in danger.

Ashlee Page is an Australian writer and director. Her multi-award winning short The Kiss screened at Busan, Clermont-Ferrand, Palm Springs and Tribeca film festivals. Her most recent work is on the film compendium The Turning, adapted from the novel by Tim Winton. Archive is her first feature film.

Neeraj Ghaywan / FLY AWAY SOLO (India): Four lives intersect along the Ganges river: a lower-caste boy in a hopeless love, a daughter torn with guilt, a father sinking in greed, and a spirited kid craving a family, all yearning to escape the constrictions of a small-town.

Neeraj Ghaywan worked with Anurag Kashyap on the veteran director’s two-part opus Gangs of Wasseypur and as the second unit director on Ugly.  His short films as writer-director include Shor and The Epiphany. Shor won the grand jury prize at three International film festivals.

– The script of Fly Away Solo is been written by Varun Grover.

– You can watch Neeraj’s short films Shor and Epiphany here and here. And click here to read a post by him on the making of Shor.

– Also, Love.Love.Love, a short documentary directed by FTII student Sandhya Daisy Sundaram, won the Short Film Special Jury award for non-fiction at the ongoing Sundance Film Festival. More details here.

5 Reasons To Watch Om Dar-B-Dar : Anurag Kashyap, Imtiaz Ali, Amole Gupte, Kiran Rao & Resul Pookutty tell you why

Posted: January 21, 2014 by moifightclub in cinema, video, VOTD
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Still haven’t seen Om Dar-B-Dar? Want more reasons? Well, listen to Anurag Kashyap, Imtiaz Ali, Amole Gupte, Kiran Rao and Resul Pookutty to understand what the film means to them and why.

And here’s Rajat Dholakia on its music madness

ODBDT

Avinash Arun’s film “Killa” selected for Berlin International Film Fest [Pics]

Posted: January 21, 2014 by moifightclub in cinema, film, Film Festival, first look, Indie, Marathi, News, pics, Stills
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Killa

Avinash Arun’s directorial debut, the Marathi feature film Killa (The Fort) will have its world premiere at the upcoming Berlinal International Film Festival. The fest runs from February 6-16, 2014.

The film is selected in the Generation Kplus competitive category. IT stars Amruta Subhash, Archit Deodhar, Parth Bhalerao and Shrikant Yadav. Avinash has also shot the film.

Official Synopsis

Killa deals with the universal conflict of migration, and how it impacts the lives of people, especially children. The story revolves around a young boy Chinu who finds it difficult to adjust to his new surroundings where he has migrated to, after his father’s death. But gradually he makes new friends and gains more confidence.

Produced by Madhukar R Musle, Ajay G Rai, Alan McAlex under the banner, Jar Pictures and presented by M R Filmworks, the film was a part of NFDC Film Bazaar’s Work-in-Progress (WIP) Lab in 2013.

There are few other Indian films at this edition of Berlin Fest. Gaurav Saxena’s Rangzen will also have its world premiere in Generation Kplus. Imtiaz Ali’s Highway and Papilio Buddha (India/USA) directed by Jayan Cherian will be screened in the Panorama section. Lajwanti (The Honour Keeper) directed by Pushpendra Singh has been selected for Berlinale Forum which is for avant garde, experimental works, essays, long-term observations, political reportage and yet-to-be-discovered cinematic landscapes. Also, Berlinale Talent Campus has selected 3 Indians – Producer Sanjay Shah, documentary filmmaker Nishtha Jain and director/screenwriter Dipesh Jain. More details here.

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