Posts Tagged ‘Mitch’

Coup d’état vs Coup de grâce

Posted: May 1, 2011 by moifightclub in cinema
Tags: ,

In media res : My favourite literary technique where, to put it quite simply, the story starts at the middle and not at the beginning and the end. Most of my favourite movies employ it to great effect, and I still think it’s the most interesting way to tell a story. A certain Chris Nolan seems to think so as well, but that’s name dropping and star fucking which is the fundamental reason of why PFC is dead and will remain so in all but name.

My story starts about 3 years ago in NYC where I was trying my hardest to avoid anything and everything Bollywood because I was in voluntary exile from the Emerald City (See how cleverly I foreshadowed Oz. I’m nothing if not subtle). I don’t even remember how but I came across the PFC blog and was very interested to read a rambling, almost incoherent account about a Scriptwriting workshop which had diggaj log like Vishal Bhardwaj, Javed Akhtar etc.

If you know me personally, then you might get the impression that I’m a bit of a snob. I’ve tried to dispel this perception of myself for a very long time but having turned 30 recently I’m like fuck this shit. If you can’t fight it, then bite it. You see I despise amateurism and mediocrity in everything, especially myself. I have a pretty good idea of my strengths and a very good idea of my weaknesses. I limit my singing to drunken karaoke sessions and in the shower and I keep my mouth shut if I know nothing about the topic being discussed. I don’t feel the need to express my opinion on everything under the sun but I realize I’m a minority. I’m not easily impressed by other people’s work and thankfully I hold myself to those same standards. I’m the first person to admit I fucked up or did a crappy job.

Coming back to that avtaar of pfc, everything seemed mickey mouse to me, so as is my habit, I wasn’t impressed. Cut to almost a year later, I land up in LA knowing exactly one person who ran the US division of the biggest Indian studio. (See how I name dropped here since I’m from Delhi it’s second nature). I was in a strange town, without a car and it was Christmas season. I remember spending a very sad and lonely new year by myself eating pizza and watching reruns of house.

It was during these less than champagne days of my life before I began to metaphorically rock the casbah that I recalled PFC and became an author. Mainak was one of the first people to friend me in LA and buy me some truly diabolical chai (See my latent snobbery emerging here again) and I thought, “hey this is pretty cool.” Even while being tadipaar I can kinda sorta keep in touch with desi filmmakers and maybe we can collaborate. Gheun Tak, as they say.

I think I blogged for about a year and a half and the quality of my posts varied mightily in quality, content and grammar. It was really influenced by the state of my liver, love life and very occasionally by intense bouts of homesickness. Some of my posts make me cringe now and I wish they would vanish forever but like films once it’s out there you have to live with it forever. PFC in that time changed it’s look and editorial direction a few times.

I got in touch with some amazing people and made some very close friends with PFC folk. I’ve had the good fortune of working with some of them and hope that their tribe increases with every passing day. I’m not gonna name you guys since clearly your not famous yet so I’m gonna wait till you are winning awards and shit till I start bragging bout you guys. Btw, Shripriya’s film is playing in NYC this week. So catch it if you can (Shri, it’s ok to plug you). Very recently I shot a documentary on the legendary K Balachander for another PFC founding member Vijay. (Note the blatant the name dropping here? Respect my authoritah !!)

Now that I’m back home, I run into a lot of people who know me through my posts on PFC, and in a sense I’m probably the one who took advantage of PFC the most as I was able to have a foothold in Bombay even as I was slogging my ass in LA and working towards my goal of racking up imdb credits like it was going out of business. PFC was a pleasant distraction but I never lost sight of what’s important i.e honing my skills and craft.

I have a lot to be thankful for, to PFC and to Oz, but the thing is, buddy, you can’t demand gratitude, you gotta earn it and it’s the most delicate thing in the world. As far as emotions go, it’s pretty much unobtanium. You can’t rub it in people’s faces and demand to be worshipped. It works when your Idi Amin Dada but not when you are Oz. For someone who always thought himself to be spiritually enlightened, you forgot the basic tenet of Karma. What goes around comes around. But enough of Oz who misguided though he was was in reality a puppet of the greater problem.

The problem was you, dear reader, who supported mediocrity in all manners possible and never put your money where your mouth was. For all the talk about supporting being warriors for indie cinema, it was Yashraj and UTV which got you hard. Indie cinema was a mere footnote and even at that moral relativity came into play. A film is not good or bad based on it’s budget or it’s director. It’s just good or bad. You refused to call a spade a spade and lavished praised on films which were meh and condemned films which were decent just because they were masala.

Why did I start reading PFC ? Because I wanted to read what a filmmaker went through while making a film not what the audience thought about it. I wanted to read about the blood, sweat and tears. I wanted to read about how they failed and how they triumphed. What I didn’t wanna read was fanboys giving online blowjobs, which what PFC ultimately mutated into. I’ve shot enough real porn to make fanboy porn look very boring. Then, of course, was the other end of the spectrum of the trolls getting their kicks by being a bitch.

Remember what I said about being a snob and keeping my mouth shut when I don’t know what I’m talking about? There are two sides to that coin. Shut the fuck up when you don’t know what you are talking about as well !!!! The amount of pinheads waving their dicks around in the name of their take on cinema was staggering. I mean, really would you tolerate it if I came to your place of work and gave you pointers on how to code or build a car from the ground up ? You would brand me a loony and kick me out on my ass. If PFC had done that long ago then it wouldn’t be a vestigal entity right now.

Mediocrity breeds mediocrity. It seems unfair to pick on one person but as a case study let’s take the enigmatic XX (Not exclusive author, just a blogger). I’m sure he’s a wonderful human being but as a writer he’s the donkey’s bollocks. If you can’t write in English then for god’s sake write in Hindi or Swahili for that matter. Why must you brutalize the language and cinema in the process? I can tell you for a fact he was one of the primary reasons why a lot of bloggers who were actual filmmakers quit PFC coz they couldn’t bear to write on a site where XX reigned supreme.

His divinely incoherent posts replete with bad grammar, syntax and almost zero understanding of the craft of filmmaking was a sight to behold. If you ever engaged him in an conversation, then the prospect of cutting your balls off with a blunt nail would probably prove to be less painful. When XX wrote, the collective soul of PFC had an orgasm and that sperm resulted in something much more dangerous. The pollen seed of mediocrity which spread like the kudzu weed and in the end throttled the life and soul of PFC. The folks who actually made or wanted to make films. When XX can write, so can anybody with access to a computer. All very democratic and idealistic wouldn’t you agree?

Unfortunately this very idea that everyone can make a film proved to be the death knell of PFC. Life isn’t a democracy and neither are films. It’s equal parts idiocracy and meritocracy with each playing the role of yin and yang. Once again as I’m a snob I believe there needs to be a barrier between the artist and the customer otherwise what will result is not going to be a work of daring individuality but rather a cookie cutter compromise intended to please the most number of people.

In essence a fast moving consumer good rather than an artifact of the human condition. Yes, PFC unearthed a lot of filmmakers and gave them hope and put them in touch with their heroes but there was a price to be paid. The price was mind-numbing sycophancy and with sycophancy comes the loss of perspective and eventually megalomania. It’s happened to lot of filmmakers who were touted as the saviors of Indian cinema and now they are nothing but a case study of what went wrong.

PFC was a great idea but it’s time is past and it’s for the better interest of the filmmakers themselves that I beg you not to indulge the fanboys and fan the fires of mediocrity. I know it’s a great ego boost but I’m pretty sure Kubrick didn’t a software engineer or any other random dude with an intense need to starfuck to tell how him great he was.

Another sad fallout of the entire PFC movement was that a lot of budding filmmakers got it into their head that the lack of craft in their films made it somehow more legit and honest. You would have an entire generation of filmmakers for whom being amateurish in their approach was a badge of honor. Even for established filmmakers excuses were made and discounts were given for their slipshod films.

I personally think the worst thing you can do to anybody in a creative endeavor is to give them dishonest feedback. This is the time I go arty farty and quote Rumi, “If you are irritated by every rub, how will your mirror be polished?”

I studied Business in my undergrad and despite having forgotten most of what I studied, one thing has always remained with men and hopefully always will. The two most important things for any entity be it for profit or otherwise are goodwill and brand perception. Once lost it’s almost impossible to get back and there is always a faintly rotten smell in the premises. PFC lost it’s goodwill a while ago and it’s brand perception is a joke.

I won’t be coming back to write on PFC and most probably on any other forum either as I am terrified of what sycophancy will do to my creative process. Now I understand why most visionaries are recluses. I’m no genius or visionary but I do value my work so I leave PFC to XX and his merry men. I feel sorry for picking on you but you are endemic of all I deplore in life the most, namely the celebration of mediocrity in the name of democracy. More than the folks who write on PFC it’s the people who read it now are the problem.

In the end just to prove how fucking indie/hatke/cool/ I am, I leave you with these words from William Shakespeare who may or may not have been from Kapurthala.

I come to bury Caesar, not to praise him.

The evil that men do lives after them;

The good is oft interred with their bones

 – Mitchinder Singh Mathurawaale aka Mitch aka Gangopadhyay

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, 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.



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.

But Mitch who ? Well, Mitch (born Mithun Gangopadhyay) is a proud black sheep born into a family of doctors who considers his life’s calling to have filmed in each of the seven continents. To his utter shame he has only managed two till now.

After cutting his teeth in Bolly-land, he’s doing his time in Holly where he’s been working in the Camera and Lighting Dept. The list of his credits belies his studly youthful looks (yes, even we can’t resist him). Gaffer, Cinematographer and his first love, Photographer (scroll down to check some of his super stuff) When he’s not fooling with smoke lenses, he’s either smoking the good stuff or fooling around. A taste for the finer things in life has almost killed him numerous times, but he managed to revive and write this post.

The bible of our business aka American Cinematographer recently published a list of the best 10 shot films of the decade.

Amélie: Bruno Delbonnel, ASC, AFC (AC Sept. ’01)

Children of Men: Emmanuel Lubezki, ASC, AMC (AC Dec. ’06)

Saving Private Ryan: Janusz Kaminski (AC Aug. ’98)

There Will Be Blood: Robert Elswit, ASC (AC Jan. ’08)

No Country for Old Men: Roger Deakins, ASC, BSC (AC Oct. ’07)

Fight Club: Jeff Cronenweth, ASC (AC Nov. ’99)

The Dark Knight: Wally Pfister, ASC (AC July ’08)

Road to Perdition: Conrad L. Hall, ASC (AC Aug. ’02)

Cidade de Deus (City of God): César Charlone, ABC (AC Feb. ’03)

American Beauty: Conrad L. Hall, ASC (AC March & June ’00)

For the complete list, click here. It’s a pretty good list except for the fact that since the choice was by popular vote the winners tended to be those films which had gotten a lot of exposure. There were other films from around which I felt were equally as good but suffered from obscurity.

Hence, this is my list of the most visually striking films of the last decade, which includes narrative, documentary, animation as well as anime. With the exception of the LOTR trilogy, I have refrained from naming flicks which were CGI heavy. I totally see the contradiction that I name anime but not greenscreen but that’s just me.

I feel I also need to address the question of what is good cinematography ? A lot of people say that good cinematography should be invisible and the story should take precedence. I dunno if I agree with that. I mean what would Blade Runner, All that Jazz and Sunrise be without the virtuoso cinematography on display. I truly believe that stories in films are meant to be told with the camera and not with dialogue, which is why excessive classical Hollywood style coverage drives me crazy.

For what it’s worth my opinion is great cinematography is that which transports you to a place and makes you believe that what you are seeing is real. For me it’s gotta be visceral enough that I can imagine myself as a character in that movie. I need to taste and smell it and I think only the camera can do that until Smell O Vision makes a comeback like 3D.

A final note on my selection of films (2000-2010). The films are arranged randomly with no order of preference Some choices may leave scratching your heads while some omissions may make you furious. All I can say is that I might not have seen that film or not liked it enough. Since I don’t watch horror films their absence is particularly telling but that’s just the nature of the beast. Also I haven’t had a chance to watch much of regional Indian cinema so that category is also criminally neglected.

1) The Prestige (USA)

2) City of God (Brazil)

3) Amelie (France)

4) The Lord of the Rings Trilogy (New Zealand)

5) Pan’s Labyrinth (Spain)

6) Wall-E (USA)

7) The Assassination of Jesse James (USA)

8) Into the Wild (USA)

9) The Motorcycle Diaries (Brazil)

10) Reprise (Norway)

11) The Lives of Others (Germany)

12) Requiem for a Dream (USA)

13) Children of Men (UK)

14) The New World (USA)

15) Eternal Sunshine of the Spotless Mind (USA)

16) Gladiator (UK)

17) Black Hawk Down (USA)

18) Oldboy (South Korea)

19) A Bittersweet Life (South Korea)

20) District 9 (South Africa)

21) There Will be Blood (USA)

22) The Bourne Ultimatum (USA)

23) A Prophet (France)

24) Amores Perros (Mexico)

25) Tropa de Elite (Brazil)

26) Casa de Ariea (Brazil)

27) Hero (China)

28) Crouching Tiger, Hidden Dragon (China)

29) In the mood for Love (Hong Kong)

30) The Proposition (Australia)

31) Flame and Citron (Denmark)

32) Sunshine (UK)

33) Slumdog Millionaire (India)

34) Y tu mama tambien (Mexico)

35) The Dancer Upstairs (USA)

36) Kiss Kiss Bang Bang (USA)

37) Eastern Promises (UK)

38) Carandiru (Brazil)

39) 5cm per second (Japan)

40) Paprika (Japan)

41) Exiled (Hong Kong)

42) Sex and Lucia (Spain)

43) Triad Election (Hong Kong)

44) Millennium Mambo (Taiwan)

45) The Devil’s Backbone (Spain)

46) Save the Green Planet (South Korea)

47) Bangkok Dangerous (Thailand)

48) Mysterious Skin (USA)

49) Invisible Waves (Thailand)

50) The Wind that shakes the Barley (UK)

51) Man on Fire (USA)

52) Control (UK)

53) Munich (USA)

54) The Diving Bell and the Butterfly (France)

55) Once (UK)

56) Vexille (Japan)

57) Spirited Away (Japan)

58) Silent Light (Mexico)

59) Reconstruction (Denmark)

60) Heima (Iceland)

61) Mongol (Mongolia)

62) The Dark Knight (USA)

63) Memories of Murder (South Korea)

64) Perfume (Germany)

65) Red Cliff (China)

66) The Good, The Bad and The Weird (South Korea)

67) The Hurt Locker (USA)

68) Infernal Affairs (Hong Kong)

69) Sin Nombre (Mexico)

70) Sugar (USA)

71) 2046 (Hong Kong)

72) Half Nelson (USA)

73) Intimate Stories (Argentina)

74) Into Great Silence (Germany)

75) Ghosts of Citi Soleil (Haiti)

76) Send a bullet (Brazil)

77) Coraline (USA)

78) The Fantastic Mr Fox (USA)

79) Mountain Patrol (China)

80) Encounters at the end of the World (Antartica)

81) Black Sun (USA)

82) District B13 (France)

83) Ghost in the Shell 2 (Japan)

84) Climates (Turkey)

85) The Headless Woman (Argentina)

86) Stranded (Argentina)

87) Read my Lips (France)

88) Antibodies (Germany)

89) Burnt Money (Argentina)

90) Paradise Now (Palestine)

91) Sin City (USA)

92) Ballast (USA)

93) The Libertine (UK)

94) Omkara (India)

95) 36 Quai des Orfevres (France)

96) Kaminey (India)

97) Dev D (India)

98) Uzak (Turkey)

99) Love me if you dare (France)

100) Daybreakers (Australia)

101) Marie Antoinette (USA)

102) A time for drunken horses (Iran)

103) Lebanon (Israel)

104) Restrepo (USA)

105) Road to Perdition (USA)

106) The man who wasn’t there (USA)

107) Far from Heaven (USA)

108) Girl with a Pearl Earring (Holland)

109) Frida (Mexico)

110) Three Times (Taiwan)

What else would you like to add to the list and why ? Do let us know.

PS – To catch Mitch’s work, click here. Have pasted some of the pics clicked by him in the slide show. The Sunrise poster is not by him ;-). The slideshow picked it up because its there in the post.

PPS – Strangely No. 8 is not showing in the post. You can see a smiley there. Not sure why and how! May be it knows how much we love the film!

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