Posts Tagged ‘Bikas Mishra’

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Bikas Mishra’s debut feature Chauranga is all set to release this friday. The film bagged the top award in the section of Indian films at last year’s Mumbai Film Festival. And it seemed like a good time to look back at his earlier film – short titled Naach Ganesh (Dance Of Ganesha).

 

The film was screened at Busan, Rotterdam,  Clermont-Ferrand and few other international film festival.

About the film

An Indian folk dancer is caught in his daily struggle of survival in an automobile factory. The burden to earn a living for his family and preserve his family tradition of ritual Ganesha dancing is humongous. His two roles – the sole bread winner of the family and the magnificent elephant god Ganesha, are so diverse that his journey from factory to village looks like time travel and his existence schizophrenic! Ganesha, the dancer lives in the fear of the day when he will have to choose between livelihood and art/tradition

Chauranga

Bikas Mishra’s debut feature, Chauranga bagged the top prize in India Gold section at last year’s Mumbai Film Festival. Now, the film is all set to release on 8th January, 2016. The makers have released a new trailer of the film. Do have a look.

Trailer :

Cast :

The film stars Sanjay Suri, Tannishtha Chatterjee, Arpita Chatterjee, Soham Maitra, Riddhi Sen, Ena Saha, Anshuman Jha, Dhritiman Chatterjee, Delzad Hiwale and Swatilekha Sengupta.

About the film :

Fourteen-year-old Santu wants to go to school. But his destiny was pre-written in a village that’s steeped deep in caste-hierarchy, oppression and debauchery. Unaware of the consequences, Santu is nurturing defiance and a dangerous infatuation. How far will his defiance take him? What will be the price of his escape?

For more details about the film, its twitter handle is here and FB page is here.

So we read this piece on Quartz India – “A Bollywood-backed Twitter campaign saved the Mumbai Film Festival—but crushed its spirit”. Friends told us it’s a well respected website. Yet to figure out why. (Not that we trust Columbia Journalism grads on desi film industry, most of the times they have no clue about bollywood or indie-bhindies) As we were joking about it, we thought let’s not respond to it till the closing ceremony. Aamir, Madhuri, Anushka, Parineeti, Esha…OMG! So many stars at MAMI! We have never seen them before at Mumbai Film Festival. They killed the indie spirit and how. Look at the winners. Bollywood must not have heard about these filmmakers and they crushed them by giving them awards – Avinash Arun (Killa), Bikash Mishra (Chauranga) and Chaitanya Tamhane (Court). And these 3 films bagged top 6 awards in International Competition and India Gold section. Interestingly, all three are based in Mumbai. City’s fest, city’s filmmakers, what an achievement! MAMI never had a better year than this. If only some people knew what they are writing about.

Moving on, here’s our day wrap of last 2 days

’71

A Soldier is abandoned accidentally by his unit in the middle of a riot in Belfast. I must confess I was at loss quite a few times thanks to the heavy North Irish accent, but this edge of the seat thriller-drama has enough moments to keep you hooked on. The riot sequence and the chase alone itself is worth the watch. Editing, Cinematography, Production Design, Look and feel – all top notch in this gritty film. One can feel the pain of the wound being stitched, the weight of the stone being thrown and the deafening screech after an unexpected bomb blast. Watch it.

Court

This film deserves every accolade it has got abroad. Minimal with pitch perfect detailing, long takes & wide shots, performances that seem natural and unrehearsed, a dab of social & political commentary every now and then, and a realistic depiction of a Kafkaesque trial – it at times ceases to be a film and seems like life unfolding in front of your eyes. Easily one of the top films at MFF this year. Do not miss this for anything.

@nagrathnam

Theeb

This is as unpretentious and straightforward a film can be. And that’s where lies its joy. A young Jordanian boy is left alone to fend for himself in bandit territory with the bandit that killed his brother. The bandit becomes his protector and the boy needs him to reach safety. Its not the barren terrain alone, a terrain from whose womb few films emerge but an entire world that opens up to us simply by the choices the characters make in this film. If you like films as an observer and seeker of experience, then this is well worth it.

Clouds of Sils Maria

Literary world threatens to envelope the real and the real world reflects the literary one, shadowing each other as the film explores the nature of time and age. Oblique with a lot of subtext, Clouds of Sils Maria is a meta referential guide to an aging actor’s work and life experience as we explore her inner world and art through her explorations of the character she is playing. Absorbing and visually beautiful, the end is mystifying but Juliette Binoche’s glorious performance makes it more than worth the watch even as a the point in its entirety maybe subject to subjective audience interpretation or simply lost. Almost meta referential of tha film again!

Mission Rape – A Tool Of War (Documentary)

Disturbing even at its short length of an hour. The documentary talks about the mass rapes that were used to perpetrate horror in Bosnia-Herzegovinian conflict during the early nineties. Victims and their families fighting for justice speak their stories and how justice has been denied to them. A stark image of the hegemony of patriarchy and the politics of war stares in front of us as we despair at the continuing inhumanity of the world. There is no attempt to dramatise events or manipulate the audience, facts are laid out bare and footage used matter-of-factly. Its short and not as incisive or comprehensive as it could be, but its honest and dignified, and therein lies its worth.

Girlhood

 Is it me or was there a major number of women-centric films this year at MAMI?In any case, its a cause for celebration and I did with Girlhood. In fact, what better film than that! Its a journey of an African teenage girl, bred and brought up in a steeply patriarchal culture finding her independence. Not only the thrift of storytelling and the simplicity of narration but the wealth of detailing makes this not only an important coming-of-age film, but a feminist film. Blue as the primary colour in the scheme, girls finding their freedom in acting like boys, the need for male approval, the male gaze and so on and on, the script explores each one of these very important aspects of influence in the shaping of a girl into a woman. A must watch!

Coffee Bloom

An interesting film about coming to terms with the past…Set in lush Coorg that is filmed with a lot of love, it is a the story of Dev, a troubled young man who is trying hard to gather his life torn apart by loss of his childhood home and his love. Love, loss, betrayal with spirituality on the fringes are some of the themes that inform the plot-driven narrative with able support from the lead actors. The screenplay is tight and engaging, the unfolding or rather undoing of the characters and their coming together quite convincing. A minor grouse, however, were the dialogues or maybe it was the way some of them were delivered, that sounded quite banal. An assured debut.

Demons

An adaptation of Dostoevsky’s novel by the same name, it is an ambitious film that tries hard to embody all of Dostoevsky’s ideas questioning nihilism, utopianism, spirituality and the human condition. Unfortunately, it fails to portray the complexity of these ideas, leave alone present a picture of 19th century Russia in all its multifarious-ness. The narrative is non-linear, something that adds a complex physicality to the film but does not supply the necessary depth or breadth, leave alone create any darkness in mood. Demons is supposed to be an intense literary work, both exploring the interiority of its characters as possessed by an inexplicable evil that is part of human belief system as well as the social conditions of Russia and its politics of the time. The film, despite its three hour long running time does little justice to the dark world of Dostoevsky or the zeitgeist of Russia, confusing hyperventilating for intensity and substituting CG work for surrealism.

–  @Fatema

The Tree (Drevo)

In the 15th century, a deadly tradition began in the Balkans, which were then under Turkish rule. Krvna Osveta is still practiced in Albania today. But that is not the story of The Tree, though it does flutter in the backdrop. Instead, in three sections, we see captivity (or, as the director prefers to say, “entrapment”) of three kinds. The story is also about power; about struggling against power; about the various shades of power — personal, political, emotional and familial. Intimately shot and powerfully acted against a spare landscape in three main colours, this film will enter your mind and haunt you endlessly.

Slovenia makes only five to ten films a year — and the director, Sonja Prosenc, who graced the screening, informed us that two of the three remarkable leads were amateurs. In such a spare landscape, it is even more remarkable when a director makes such a stunning debut.

The Big Journey

Perhaps the best movies about journeys are those that are not about the journey at all. A devout, French Muslim coaxes his reluctant son to drive him all the way to Mecca — a taxing route spanning 3000 miles. But there are no sights on the way, even though the son would like to stop for some of them. Instead, we enter the minds of the protagonists and travel through their maze of differences — due to a significant distance in their ages; due to their belonging to different times; due to their having different beliefs about religion, and right and wrong.

Their clashes are the age-old clashes of the conservative and the modern; the devout and the casual believer; the old and the young. There are some regular road movie tropes thrown in — such as trouble at customs; thieves and strange companions on the journey. But there is also some great detailing — especially in the last part where we meet travelling Arabs going to Mecca, replete with their customs, their prayers, their caravans.

As the father and son travel farther away from home, The Big Journey becomes all about bridging the distance between two minds and hearts.

Theeb

Are we a product of our environment? Or do we shape it? Theeb suggests the former. After all, who can shape the mighty desert? In Arabia in 1916, we see the cruel, unforgiving, death-giving desert produce children who see, and accept, cruelty as a routine ingredient of their lives. Of course, accepting cruelty with such equanimity requires fearlessness as well. And we see all of this in both Theebs — the protagonist, and the movie.

Mesmerisingly shot entirely on location against the ravishing landscape of Wadi Rum and Wadi Araba, and cast with non-professional actors from one of the last of Jordan’s nomadic Bedouin tribes to settle down, Theeb is often disturbing — for its hyper-realistic depiction of life in the desert, the desperation it induces, and the everyday violence accepted by the tribes. Often the movie crawls, just like the days in the desert, and it becomes difficult to watch on. But life is never easy; why should such a marvellous movie be?

@Shubhodeep

Court

Extremely real situations (too close to reality for people who keep tabs on what’s happening), real people and performances. In fact, a lot of people in the cast are not professional actors but they seem natural in front of the camera. Film unfolds mostly in a courtroom where a man (a Shahir) stands accused of abetting suicide of another man. Clearly it’s just an excuse by the state to put him behind bars. While the starting point of the film seem to be inspired from real events, it aims to take a broader view of the society and its functioning as well as its relationship with the state and its institutions by going into the lives of each of the main players.

@neeraja

A Girl Walks Home Alone At Night

I have to say I wasn’t terribly impressed by this, given the hype. Powered by a cool ‘vampire-in-a-veil’ conceit and hip soundtrack, it’s fun but doesn’t do anything very interesting thematically or in terms of storytelling, especially given the vast potential of its premise. Instead, it feels disappointingly content in just being an exercise in posturing and Sin-City style B&W visuals instead of being genuinely groundbreaking or revelatory. (Perhaps Tomas Alfredson and John Ajvide Lindqvist set the bar way too high a couple of years back.)

Clouds Of Sils Maria

Juliette Binoche and Kristen Stewart play off each other brilliantly in Clouds Of Sils Maria, Oliver Assayas’ sharp, brutally funny and super-meta movie with a heart of melancholy. The compelling dynamic and amazing chemistry between the actresses alone makes this a must-watch, even as all the nudging and winking occasionally gets a tad overbearing. The film is too diffuse to be devastating (or a modern companion-classic to Sunset Boulevard) but Clouds of Sils Maria is always compelling, and when Binoche bares her soul with such blazing poise and elegance, it’s hard not to be floored.

jahanbakshi

This isn’t a tale of heroic feats. It’s about two lives running parallel for a while, with common aspirations and similar dreams.

-Ernesto Guevara de la Serna

I am bad with names. I guess, terrible. And am very good with excuses. So, it gets compensated mostly. And that’s why whenever I save a new contact in my phone, I always add a suffix or prefix to the name. It makes life easier. Because whenever I am searching for anyone, if not the name, the suffix or prefix will help. Either place, profession, common friends, where we met, how  we met, why we met, and noun, pronoun, adjectives, verb (don’t pick) of all kinds.

Before I started writing the post, I quickly searched for PFC in my phone’s contacts list and believe it or not, the number of contacts with PFC as suffix is 44 – covering almost every alphabet from A(shish) to W(B), even Z if you count Zoorya (Surya) as I call him. And in the last few years some of them have become 4am friends too. And am not counting any filmmaker, producer, writer or celeb here, with them it’s always aspirational, at least to start with. Talking about mere mortals like us. Friends from across states, nations and even continents. Many of us have met each other, shared our stories and bonded over everything that’s life. At the end of the day,  I guess, that’s what PFC has done. Internet, you beauty. Add cinema, and we are alive.

PFC started in August-September 2006. I guess I joined in December. How, why – don’t remember exactly. I wasn’t in a boring cubicle and my day job wasn’t boring either. Then? Must have been a google search for ‘Anurag Kashyap’. Because there was a time when PFC = AK, which wasn’t true but the industry always thought so. “Oh, AK’s mouthpiece. So much negativity on that site!”. Well, that’s the way it was.  Just because we had endless rounds of biryanis and drinks at his place with access to some of the best world cinema, it didn’t mean that we had to worship him or his friends. Criticise him and he will listen. He will argue, fight, try to make fun of you, put his favourite question to you, “tune kya likha/banaya hai?“. But that’s just him, trying to figure out if you really know your shit or just blabbering. And yeah, No Smoking had equal number of posts on both the extremes. Let me also confess that there were times when many comments which attacked AK were moderated and without telling anyone I used to approve them. If it’s about cinema, if someone is making a point that AK might not agree with, there is no point in blocking that comment. The general policy was to keeps the trolls away from filmmakers, keep the site clean but what’s life without some cheap thrills. If it’s AK’s cinema, his post, let him face it.

There was also Suparn Varma, Hansal Mehta, Pavan Kaul, Sourabh Usha Narang, Sam Longoria, Ramu Ramanathan, Bhavani Iyer (Onir, Navdeep Singh came onboard later) and some 30-35 bloggers from across the world. Forget everything else, we had no clue about each others names also. Some of us used to write posts with nicknames/handles and we used to address each with those handles. Honhaar Goonda, DPac, RK, Ranga, Macchar Kumar, Dabba – some of the handles that I can think of right now. Once a friend was visiting London and he needed some cash urgently. The first name that came to my mind was Honhar Goonda and I had to ask another friend for his real name. There were mele-mein-bichhde-huye-bhai too, Pavan Saab and Subrat: where Google fails, they come to the rescue. Do you know Chic Chocolate?

Then there was Kartik Krishnan (KK) – the face of PFC in Mumbai. He would go to any length to do anything for PFC, would travel any distance to meet any new author of PFC. With Vasan, three of us soon became the point persons for all kinds of activity. And the invisible brain, the hand, the man behind everything else was Oz. PFC was his idea, his intiative. Log milte gaye aur karwaan banta gaya.

For the first few years, it was all smooth. We never bothered to ask how the site was running, how much space, what the readership was and  other such technical details. That was all Oz’s headache. A bunch of 10-12 editors, including three of us, used to take editorial calls and we were busy blogging – shouting, screaming, fighting – all for cinema.

I might be completely wrong but I think the first time we had some kind of disagreement when a filmmaker gave the idea of turning PFC into commercial venture and someone decided to do it. Since it was mostly one man control as far as any cost was concern, it was all his call. Rest of us were foot soldiers. Discussion soon moved from club to chain mails and many of us expressed our discomfort about the way the decision was taken. We were blogging because we loved it, there was no intention of making it IndiaFM or any such commercial venture.

Of course there was ample space and time given to everyone to debate, discuss and put forward all kinds of suggestions in Club. Those days authorship wasn’t open to everyone, but by invitation only. We had a club for the authors which was not visible to the rest of the world. And countless nights have been spent on random discussion threads in that club. Those were the Club days too!

There was Review contest (Yes, Thani), One minute short film contest, Poster design contest, Pitcher contest – Oz was always the man to go and we would execute it in best possible way. TOI gave us half page coverage too, with some of us happily posing for the camera in the middle of  a busy road in Dadar’s Hindu colony. Aha, the cheap thrills. Every mention of PFC in the media was one step forward in making it more visible, making it more mainstream. The industry slowly took notice and mostly loved to hate us.

Krsn Kavita Kasturi (I hope I have got her name right) – She was one of the  respected blogger at PFC who knew her cinema quite well. As it mostly happened in the club, once she disagreed on some point which we all were gung-ho about. We were quick to brand her as PFC-Drohi and me and KK got into an altercation with her. I Still can’t remember what was the reason, the exact topic. Blame it on age. But we were PFC-Bhakts and she was PFCDrohi soon. She quit PFC after that. KKK, if you have Google Alert on, apologies from me. Because all this seems too trivial now.

And what a surprise, in the next two years, I was in her shoes. As a dozen of us  met last night  at a friend’s place and we started talking about PFC, we could not agree on one version of the story – how it started? Was it this or that? And there were alternate versions too. Why we could not agree on few things?

Among many other things (man with an agenda, conspirator), I was even branded racist. I could not figure out the reason then and discovered it much later that I had put a comment saying “firangi” or something like that in one of the threads in the Club and by that time one of us had got married to someone for whom that was racist remark or kind of. I tried the search option in my gmail, went through some mails, and gave up. Too tedious, too kiddish. There must be hundreds of those mails, may be we will tell our grand kids about it.

Like every story has my right side and your wrong side, it was the same for PFC. Also, it was “Catfish” syndrome for some of us. “Dude, he is so boring. Come on, we can’t say it to him. We have to meet him. No, you go away, I will skip.”  We also realised that the set-up was becoming too feudal. One man would control it all, he would not listen to anyone except those who  agree with him and celebrate him. We asked questions, raised our voice and it made things worse. The reason given was, “I quit my job, I gave my life and soul to it, my space, my time for it. How dare can anyone ask me what i want to do?”.  And we thought, “But who asked you to do so? We all have our jobs, we all still contribute”. The ping-pong game continued.

By that time, the commercial venture keeda had done the trick too. The critic we had no respect for and who is known for his extremely biased reviews, was asked if he would blog at PFC. Posts/blogs were done in tie-up with films/directors. The aim was to get more page views, more readership and thus generate revenue.

Things started piling up. All kind of decisions were taken on the basis of MBBS (Miyan-Biwi-Baccha-Samet). Many bloggers were finding an excuse to quit it.  Or as Roger Ebert wrote in the review of Blue Valentine, “I’ve read reviews saying Cianfrance isn’t clear about what went wrong as they got from there to here. Is anybody?” When in doubt, trust Ebert.

Oz also used to run DesiTrain.com, his personal blog. And there were some incidents where personal things got mixed up with PFC. It involved his family, he felt that some of us said/did something nasty about someone related to him, he wrote a post on it, we commented there, he was hurt, attacks, counter-attacks. And back to Ebert. Since there was no professional set-up for PFC, it was again Oz’s call. So, if he was pissed off with someone because of some personal reason, that also meant that it’s the end for him/her at PFC. You can take any side here and have your arguments, and we did the same. As I wrote earlier, I am not sure if this was the correct flow of the events. Flashbacks are not so smooth always as they show in movies. I might have missed many things but I am writing whatever I can remember now.

What else? I am still trying to think if there was any big reason apart from “making PFC commercial”. We tied up with Tehelka for PFC Awards, some felt we were moving too hastily,  some felt it’s better to do something rather than ponder over it and make powerpoint presentations. Few calls and more miscommunication – ‘how dare you hang up the phone, it was ISD call and so must have been the time difference my and your voice, you sent such a nasty SMS when I was going through a family crisis’, ‘But that was a joke and how am I supposed to know that you had a crisis at home..’ – everything that counts for the lovers’ tiff, we had it all. And like in every lovers’ tiff which ends in separation, this story is from one side, the other side’s story might be completely different.

I quit. KK quit. And for similar reasons some 20 authors also quit one after another. And we all felt strange that nobody thought that this was strange – if 20 active bloggers decide to quit one by one, there has to be some reason, some logic, some problem. Someone must be wrong somewhere. Naah, by that time it has straight forward – we are right, they are wrong. It was Us Vs Them. Those who stayed Vs Those who left. Those who stayed – we stayed at the worst period of PFC, we are friends, we saved him, saved PFC. Those who left – they don’t make any sense, it’s feudal approach, it’s MBBS, power drunk, dropping names, enough! It might have been lil’ bit of this, lil’ bit of that, some ego here and there, and that was the end for us. But I/we never thought that it would end in such a bitter way.

I started writing this as a Goodbye post and soon realised that it might not be a goodbye after all. But I thought it’s better to complete it.

So, Dear PFC – Cheers for all those 40 friends and 4am buddies, and apologies for all kinds of ugly spats, intentionally or otherwise, it just seems so funny now, or may be it was all for cheap thrill. May be we all were in our best possible Natural Born Killers avatar and part of that secret club. It was great fun till it lasted.

But no apologies for watching the 2nd half of Contract before the first half and then again going to the other screen to catch the first half, no apologies for asking Ramu, “Do you think you have lost it?”, no apologies for not liking No Smoking and Jaane Tu Ya Jaane Na and million other such things.

(PS: Questions have been raised many times about exclusive authors/filmmakers. Why don’t they write more often? They come only for their film promotions. But let me clarify – most of the time we wanted them to blog. Except few, it was us who approached them. They were not dying to blog. We wanted them and they had a film for release, they had something to say, so they blogged whatever they could. There is no point in putting the blame on them. We were eager to get them onboard – always!)

(PPS – Hansal – Sirjee, I have never cooked for anyone.)

What else? Lots, but can’t remember. Told ya, the age.

Yours,

Phoenixnu

RK now runs Cinemanthan,  Sameer went full time with his CinemaaOnline, Shripriya’s site is Tatvam, Mitch’s work can be seen at Bokehchaser, Fatema reviews films for Indiaentertainment and blogs at filmsandwords, and Pavan still runs GulzarOneline. Also, Indraneel can be found here, Sudhir is here, Jahan Bakshi writes here, Dipankar is here, and Srinivas here . And a bunch of us still create nuisance here at mFC. 🙂 For the rest, they are all on Facebook and Twitter.

We had put out the announcement details of the NFDC’s Screenwriters Lab for 2010 here. And now here is the final list of the six scripts which have been selected for the ScriptLab at Locarno Film Fest.

Into the World –  Ben Rekhi

D End –  Shlok Sharma

Shab – Onir

Lovely Insane – Vasan Bala

Untitled – Seema’s Story –  Madhvi Purohit

Four Colors – Bikas Mishra

The ScriptLab is oganized by National Film Development Corporation of India in association with Binger Filmlab, Netherlands and Locarno International Film Festival, Switzerland.

The sessions in 2010 will run from August 7– 9 at the Locarno International Film Festival, Switzerland and from November 23 – 26 at Film Bazaar Goa, India. Congrats to all the writers! Enjoy.