Posts Tagged ‘Dabba’

Lunchbox

Aha, this is what you call a break out film. First, premiere at Cannes Film Festival in International Critics Week. Followed up by rave reviews. Then the Grand Rail d’Or Award. And now, the big news – Sony Classic Pictures picks up the US rights of the film.

According to this report in Variety,Sony Pictures Classics has acquired all U.S. rights to Ritesh Batra’s feature debut “The Lunchbox”,  a Cannes Critics’ Week standout.

Copy-pasting excerpts from the report…..

Repped by Germany’s The Match Factory, the Mumbai-set crowd-pleaser got a standing ovation following its Cannes unspooling.

At Cannes, SPC also acquired all U.S. rights to Iranian helmer Asghar Farhadi’s Paris-set drama “The Past,” starring Berenice Bejo and Tahar Rahim, which is vying for a Palme d’Or.

SPC has a strong track record when it comes to acquiring foreign arthouse films with strong Oscar potential. Last year, it nabbed Michael Haneke’s “Amour,” which was nominated for five Oscar nods and won best foreign-language film.

Gaul’s Happiness Distribution also picked up ”Lunchbox.” It is one of four Indian entries that bowed at Cannes, which is celebrating 100 years of Indian cinema.

No wonder many critics already termed it as a film with crossover appeal. Click here to read the reviews here.

The Lunhcbox.jpg large

Also, the film recently bagged the Grand Rail d’Or Award at Cannes.  According to DearCinema, since 1995, a group of rail worker film enthusiasts presents the Golden Rail awards to two films in Cannes Critics’ Week: Petit Rail d’Or for best short film and Grand Rail d’Or  for best feature. So it’s kind of viewers choice award.

Written and directed by Ritesh Batra, the film stars Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui, Denzil Smith and Bharati Achrekar. To read its official synopsis and full cast/crew details, click here.

Ritesh Batra’s The Lunchbox (Dabba) and Amit Kumar’s Monsoon Shootout had their premiere screenings at the ongoing Cannes Film Festival. Lunchbox is selected in International Critics Week section and Monsoon Shootout had a midnight screening. Some early reviews of both the films have been pouring in. For curious folks like us, here are the excerpts and links to the reviews.

Variety review is here

A feel-good movie that touches the heart while steering clear of expectation, “The Lunchbox” signals a notable debut from tyro helmer-scripter Ritesh Batra. The ingredients on their own are nearly fail-proof, yet it’s the way Batra combines food with an epistolary romance between a nearly retired number cruncher and a neglected wife that hits all the right tastebuds. An indie Indian pic with the crossover appeal of “Monsoon Wedding,” it’s sure to be gobbled up by audience-friendly fests before heading into niche cinemas.

Screen Daily review is here

A wistful, elegant love story played out across the streets of Mumbai, The Lunchbox is an unexpectedly aromatic charmer from first-time film-maker Ritesh Batra. Eschewing the pitfalls of what appears, on face value, to be a highly schematic set-up, Batra infuses his film with warmth and humanity, while cameraman Michael Simmonds steps up to deliver delicate visuals of modern Mumbai.

Film Business Asia’s review is here

There’s hardly a shot, line or gesture out of place in The Lunchbox, a hugely impressive feature debut by Mumbai-born, partly New York-based Ritesh Batra that starts out like a foodie film but spins a simple idea into a whole mini-universe of feelings.

– To watch the presentation ceremony video, click here

– To watch Ritesh Batra’s interview, click here

– Two clips from the film

Cast and crew list

Directed, written by Ritesh Batra.
Camera (color, widescreen) – Michael Simmonds
Editor – John Lyons
Music – Max Richter
Production designer – Shruti Gupte
Costume designer – Niharika Bhasin Khan
Sound (Dolby Digital) – Michael Kaczmarek, Ramesh Birajdar, Joerg Theil, Tom Korr
Line producers – Meraj Shaikh, Smriti Jain
Assistant director – Prerna Saigal
Casting – Seher Latif.
Cast – Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui, Denzil Smith, Bharati Achrekar, Nakul Vaid, Yashvi Puneet Nagar, Lillette Dubey

And here are the reviews of Amit Kumar’s Monsoon Shootout.

Peter Bradshaw’s review is here

It’s a moody, broody downbeat drama for most of the time, a rainy noir. But along with the plot trickery, there are some unexpected turns…..It’s an entertaining popcorn-movie with a twist, for which commercial success is on the cards. There should be space for pictures like it in Cannes.

The Hollywood Reporter review is here.

A cunningly intricate first film from India, Monsoon Shootout combines the best of two worlds – a ferocious Mumbai cops and gangsters drama, and a satisfyingly arty plot that turns in on itself to examine the outcome of three possible choices a rookie cop might make when he confronts a ruthless killer. Three times the story returns to a key moment: a boy with a gun uncertain whether to pull the trigger. Though the idea of Dirty Harry meeting Sliding Doors may sound abstract, writer-director Amit Kumar pulls it off gracefully, without losing the sense of heightened drama that earned the film a Midnight Movie slot in Cannes. The Fortissimo release should make good headway in territories open to India and exotic genre fare and put Kumar on festival radar.

Screen Daily review is here.

Serving up a portion of Rashomon with a side of Sliding Doors, this tasty Mumbai crime story offers multiple outcomes of one fateful decision in a rookie cop’s professional life. Though it sounds like a potentially experimental premise, Monsoon Shootout is a glossy ethical drama designed to appeal equally to more upscale Indian audiences and worldwide genre fans.

Film School rejects review is here

The Upside: Nicely photographed; boasts decent enough lead performances, specifically the presence of Thapa as Adi’s beau; sound editing is also strikingly effective

The Downside: Aspirations towards existentialism don’t pay off well because it lazily recycles some grand ideas, but without the same level of ingenuity and entertainment value; atrocious editing stifles the action beats, which are themselves too sparse and brief to satisfy.

Here’s the Variety review:

“Monsoon Shootout” is a racy mash-up of Tarantino-esque ultra-violence and-gritty but-hip contempo Indian actioners. Amit Kumar invests a schematic police-thriller structure with a compelling moral dilemma hinging on a standoff between a cop and his suspect.

And here’s the Rope of Silicon podcast on the film.

A look at the film:

Cast and crew list

Production companies: Yaffle Films, Sikhya Entertainment in association with Pardesi Films AKFPL, Dar Motion Pictures

Cast: Vijay Varma, Nawazuddin Siddiqui, Neeraj Kabi, Geetanjali Thapa

Director: Amit Kumar

Screenwriter: Amit Kumar,

Producers: Trevor Ingman, Guneet Monga, Martijn De Grunt

Co-producers: Anurag Kashyap, Arun Rangachari

Director of photography: Rajeev Ravi

Production designer: Mayur Sharma

Editor: Atanu Mukherjee, Ewa Lind

Music: Gingger Shankarv Sales Agent: Fortissimo Films

88 minutes

(Pics taken from various online sources/social media)

Update: TWITTER BUZZ…

Since reviews for Indian films are scarce, we decided to add some tweets into the mix.

On The Lunchbox:

THE LUNCHBOX (R Batra): Like a bonsai tree, modest but magnificent. Standout performances. Bit cloying, but only if you want to find faults. — @bgji May 20, 2013

A very well-deserved, sustained, standing ovation for The Lunchbox at Cannes. Congratulations, Ritesh!! — @Shripriya May 19, 2013

On Monsoon Shootout:

MONSOON SHOOTOUT is the ‘Choose Your Own Adventure’ of crime actioners. I’m not completely convinced, but I do respect the ambition. #Cannes — @RylandAldrich May 19, 2013

MONSOON SHOOTOUT (D-) 3 versions of the same story, except it’s not as the filmmakers abandon the logic of the conceit. Morally dubious too — @CSkinner May 19, 2013

MONSOON SHOOTOUT does somehow seem to have become the defining film of the Festival. #cannes2013 — @JonathanRomney May 18, 2013

MONSOON SHOOTOUT (A Kumar): Thoroughly ordinary. Heavy handed 3 pronged narrative structure/metaphor. More imagination re: Bombay, please. — @bgji May 19, 2013

Monsoon Shootout is the Sliding Doors of cop thrillers. Fleetingly entertaining but the alt-outcomes narrative wears thin… #Cannes2013 — @totalfilm May 19, 2013

Monsoon Shootout – 2/5. Slumdog Millionaire meets Run Lola Run (Run Slumdog Run?) in fecklessly bloodless gimmick thriller #Cannes2013 — @ShaunMunroFilm May 19, 2013

MONSOON SHOOTOUT is the Indian RUN LOLA RUN if RUN LOLA RUN were a predictable cop drama. #Cannes2013 #cannes — @FredTopel May 19, 2013

On Ugly:

UGLY (A Kashyap): A Blaft-like pulp thriller with @ankash1009 bravely pushing his style to the limits. Depressingly hilarious & brilliant. — @bgji May 18, 2013

And finally…

UGLY and MONSOON SHOOTOUT taught me not to be a person who works for, needs help from, or who is wanted by police in India. #cannes2013— @marshalclark) May 19, 2013

Jai Ho. 🙂

For those who have been curious about Ritesh Batra’s Dabba, we have got the first look of the film. Here are some of the stills from the film which look really impressive. We do also have all the cast, credit and official synopsis details.

The film will have its international premiere at Cannes Festival in International Critics Week section.

(Click on any image to start the slide show in hi-res)

Though Nawaz was also in Paan Singh Tomar, but it looks like this film finally brings together two of the finest actors of our generation in full fledged roles. And is Irrfan Khan in Namesake avatar again? Bring it on!

Official Synopsis

A mistaken delivery in Mumbai’s famously efficient lunchbox delivery system connects a young housewife to an old man in the dusk of his life as they build a fantasy world together through notes in the lunchbox. Gradually, this fantasy threatens to overwhelm their reality.

Mumbai, a city of miracles.

One of Mumbai’s miracles is Mumbai’s Dabbawallahs – a community of 5000 dabba (lunchbox) deliverymen. It is a hereditary profession. Every morning the Dabbawallahs deliver hot meals from the kitchens of housewives to the offices of their husbands, and then return the empty lunchboxes back to the homes in the afternoon. For 120 years they have provided Mumbaikars with a taste of home in the office. They navigate through the overcrowded local trains and chaotic streets – that often have a namesake or more than one name. The Dabbahwallahs are illiterate, and instead rely on a complex coding system of colors and symbols to deliver dabbas in the labyrinth that is Mumbai. Harvard University analyzed their delivery system, concluding that just 1 in 8 million lunchboxes is ever delivered to the wrong address. Dabba is the story of that one lunchbox.

A mistakenly delivered lunchbox connects a housewife, Ila Singh, to Saajan Thomas, a lonely man in the dusk of his life. Ila lives in Dadar, the conservative middle class Hindu enclave. And Saajan lives in Ranwar village, Bandra, an old Christian neighborhood that is threatened by the new high rises in Mumbai. Very soon Saajan will retire and bid goodbye to a Mumbai that has crushed his dreams, took away his loved ones one by one, and turned his hair white. Just then Ila comes into his life. In the big city, that crushes dreams and recycles them every day, both find a dream to hold on to. Ila begins a fantastical affair with a mystery suitor, pouring her heart into cooking meals for him. And Saajan looks forward to lunch box deliveries from a mystery woman every day. They exchange notes via the lunchbox and create a fantasy life. As the lunchbox goes back and forth, this fantasy becomes so elaborate that it threatens to overwhelm their reality. The characters of The Lunchbox exist on the line between the Mumbai of reality and the Mumbai of fantasy.

The Lunchbox is the story of the life we dream of versus the life we live in, and of the courage it takes to turn out fantasies into reality.

Credits

director: Ritesh Batra
screenplay: Ritesh Batra
cinematography: Michael Simmonds
editing: John Lyons
sound: Michael Kaczmarek
production design: Shruti Gupte
music: Max Richter

Cast:
Irrfan Khan
Nimrat Kaur
Nawazuddin Siddiqui
Denzil Smith
Bharati Achrekar
Nakul Vaid
Yashvi Puneet Nagar
Lillete Dubey
Sada (Dabbawala)

The film is produced by Sikhya Entertainment (India), Dar Motion Pictures (India), and co-produced by National Film Development Corporation (India), ASAP Films (France) and Roh Films (Germany).

Btw, Michael Simmonds? The DoP of Ramin Bahrani’s films? Chop Shop, Man Push Cart, Goodbye Solo and Plastic Bag. That’s a great talent to have on board.

To know more about the film and the filmmaker, click here to read his interview on DearCinema.

Director

Ritesh Batra is a writer/director based in Mumbai and New York. In 2009, Batra was selected for the Sundance Writers and Directors labs for his feature project “The Story of Ram”. He was also named the Sundance Time Warner Storytelling Fellow and an Annenburg Fellow. He was part of the Graduate Film Program at New York University’s Tisch School of the Arts, from which he dropped out in 2010. His short films have been presented in many international film festivals and fine arts venues. His recent short “Café Regular, Cairo” was featured in the 2012 Inter- national Film Festival of Rotterdam and 2012 Tribeca Film Festival. His upcoming short ‘The State of Siege’ is currently in post-production.

His feature screenplay THE LUNCHBOX was part of the 2011 Binger-NFDC Screenwriting Lab, it won an Honorable Mention from the Jury at the 2012 edition of the Cinemart at the International Film Festival of Rotterdam and was part of the Berlinale Talent Project Market.

(Cast/credit/synopsis/Director’s bio taken from various co-producers’ site)

Dabba 2

The 52nd Cannes International Critics Week unveiled its lineup today.

Among the 11 features screening in the sidebar, which showcases first and second films, there’s one film from India – debutant director Ritesh Batra’s Dabba (The Lunchbox). The film stars Irrfan Khan, Nawazuddin Siddiqui and Nimrat Kaur.

And here’s the official synopsis from the site of one of the co-producers, Cine Mosaic

A mistaken delivery in Mumbai’s famously efficient lunchbox delivery system connects a young housewife to an old man in the dusk of his life as they build a fantasy world together through notes in the lunchbox. Gradually, this fantasy threatens to overwhelm their reality.

The Lunchbox is the story of the life we dream of versus the life we live in, and of the courage it takes to turn out fantasies into reality.

Apart from Dabba, Cannes will also screen Bombay Talkies and Monsoon Shootout.

The Film Bazaar Screenwriters’ Lab 2011 held in partnership with Binger Filmlab, Netherlands and the Venice International Film Festival, Italy has announced six shortlisted projects. The first working session will be held at the Venice International Film Festival from September 1 – 3, 2011. The second working session will be held at Film Bazaar, Goa from November 23 – 27, 2011.

Projects selected for the Lab this year are –

1. Sebastian Wants To Remember by Vasant Nath

2. Dear Mira by Deepti Datt

3. Toxic City by Aliya Curmally

4. Dum Laga Ke Haishya by Sharat Katariya

5. Girls by Megha Ramaswamy

6. Dabba by Ritesh Batra

The workshop ensures that the participants apply their training and pitch their improvised screenplays to industry professionals from around the globe. The workshop is aimed at preparing these screenwriters to position their screenplays internationally.

The lab advisors for the lab are Marten Rabarts (Artistic Head, Binger Filmlab), Bianca Taal (Industry Advisor, Binger Filmlab), Olivia Stewart (Producer, Writer & Script Advisor) and Urmi Juvekar (Screenwriter & Script Advisor).

To know more about the Screenwriters’ Lab, click here.

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.