Posts Tagged ‘TIFF’

The first trailer of Aamir Bashir’s directorial debut Harud is out. The film is going to have its world premiere at the Toronto International Film Festival (TIFF). Its selected in the Discovery section.

The film has been shot by Shanker Raman and stars Reza Naji ( His breakthrough role was in Children of Heaven directed by the renowned filmmaker Majid Majidi. In 2008 he won the Silver Bear at the Berlin film festival for his performance in the film Song of Sparrows), Shahnawaz Bhat, Shamim Basharat, Mudassir Khan, Salma Ashai.

To know more about the film, click here to go to its official website. And to read its synopsis and more, click here.

Time to add one more to the list of desi films at Toronto International Film Festival ( TIFF) this year. And those who follow us on Twitter, they know that we have been shouting about it since quite sometime.

Actor Aamir Bashir turns director with Harud and its going to have its world premiere at the TIFF. Its selected in the Discovery section. The film has been shot by Shanker Raman and stars Reza Naji ( His breakthrough role was in Children of Heaven directed by the renowned filmmaker Majid Majidi. In 2008 he won the Silver Bear at the Berlin film festival for his performance in the film “Song of Sparrows), Shahnawaz Bhat, Shamim Basharat, Mudassir Khan, Salma Ashai.

And here is the official synopsis of the film..

Rafiq and his family are struggling to come to terms with the loss of his older brother Tauqir, a tourist photographer, who is one of the thousands of young men who have disappeared since the onset of the militant insurgency in Kashmir.

After an unsuccessful attempt to cross the border into Pakistan, to become a militant, Rafiq returns home to an aimless existence. Until one day he finds his brother’s old camera.

And to read what Cameron Bailey (Co-director of TIFF) thinks about it, click here or keep reading…..

The transition from actor to director was a smooth one for Aamir Bashir, whose debut feature Autumn offers a devastating glimpse into the wartorn wasteland of his native Kashmir, where survival is a daily challenge and dreams persist in the face of monumental loss. Bashir’s depiction of this region on India’s border with Pakistan – which has seen tens of thousands of deaths and disappearances since the 1989 outbreak of insurgency – is the meticulous and skilfully restrained work of someone well-acquainted with tragedy.

Rafiq (Shahnawaz Bhat) is a young man with an unsettling, silent bravery. After an unsuccessful attempt to cross the border into Pakistan, he rejoins his parents, who, like him, cannot recover from the disappearance of Rafiq’s older brother Tauqir. His father, Yusuf (Reza Naji), suffers debilitating paranoia, while his mother, Fatima (Shamim Basharat), gets by on hopeful delusion. Rafiq all but sleepwalks through the day, contending with ghostly images of his brother. A flicker of hope finally registers in Rafiq when he finds Tauqir’s old camera with a roll of undeveloped film. Photography (even the act of holding a camera) offers Rafiq a link to the past, a way to cope with the present and a source of hope for the future.

In Kashmir it is eternally autumn. Everything is on the cusp of destruction: parched leaves fall from trees, power lines spark ominously, while anger, fear and despair simmer beneath exhausted veneers. Death is everywhere. The film’s quiet, almost ethereal pacing is punctuated by jarring incidents. The oppressive surveillance of an overbearing military presence is echoed by Bashir’s widescreen framing of shots through door frames and windows; we too are implicated as voyeurs in this humiliating world where privacy does not exist. As tensions rise, Rafiq gravitates increasingly towards his camera, through which the boundaries between dream and reality, vision and hallucination, assume a fluid ambiguity.

Autumn is a remarkable achievement marked by indelible performances and a deeply personal understanding of the politics of family and war.

To know more about the film, click here to go to its official website.

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Pic Courtesy : Harud’s FB Group

Kiran Rao’s directorial debut Dhobi Ghat is going to have its world premiere at  the Toronto International Film Festival (TIFF). It stars Aamir Khan, Prateik Babbar, Monica Dogra and Kriti Malhotra. Some new pics of the film are out…check it out…

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And here is the official synopsis of the film…

In the teeming metropolis of Mumbai, four people separated by class and language are drawn together in compelling relationships. Shai, an affluent investment banker on a sabbatical, strikes up an unusual friendship with Munna, a young and beautiful laundry boy with ambitions of being a Bollywood actor, and has a brief dalliance with Arun, a gifted painter. As they slip away from familiar moorings and drift closer together, the city finds its way into the crevices of their inner worlds.

And to read what Cameron Bailey, Co-director of TIFF, thinks about Dhobi Ghat, click here.

We posted this one earlier….Cameron Bailey on Kiran Rao’s Dhobi Ghat. And then got to know that he has written about Anurag Kashyap’s That Girl In Yellow Booots too. For those who are still wondering who is Cameron, well, he is the Co-director of Toronto International Film Festival (TIFF).

We should have put both his notes on a single post but since Dhobi Ghat is already out, this one is on That Girl In Yellow Boots. Read on…

As India’s independent film movement surges, Anurag Kashyap is at the forefront of the action. His Dev D. stripped away Bollywood’s commercial sheen to reveal a generation of urban Indians as they are today: ambitious, exciting and international. That Girl in Yellow Boots takes a hard look at those South Asians who live in between worlds. A portrait of a biracial woman trying to find her place in Bombay, it is exactly the brand of urgent, passionate filmmaking that is transforming how we think about Indian cinema.

Ruth has spent enough time in India to know how to work the system, including how to manipulate the sleazy bureaucrat at the immigration office. With her visa extended, she returns to “studying massage,” which is really a soul-squandering job servicing men at a backroom parlour. Her boyfriend, Prashant, offers no rescue from the dangers of her work. In fact, his drug use, money problems and brushes with violent criminals put her in the way of ever-present harm. But Ruth puts on a tough face and braves the risks of her challenging, urban life for one deeply personal reason: her estranged father lives somewhere in the city. As she searches for her last remaining link with her family, she falls deeper into Bombay’s underworld. But a part of Ruth seems to embrace the danger. That girl in yellow boots is a complex character: brash but sensitive, numbed to men but desperately needing to connect.

Kashyap shot the film in a mere thirteen days and it carries that anything-goes spirit. At the same time, it boasts sophisticated widescreen cinematography that pushes its characters together in the frame, compressing them against Bombay’s humid mass of concrete and people. This is an enormously stylish film, crafting intimate pockets within the city where layered performances can unfold. In both style and subject, Kashyap defines the pulse of today’s Hindi independent cinema – Hindie, if you like.

And click here for the link to the original piece.

This friday belongs to Producer Aamir Khan. Just back from the directorial debut of Anusha Rizvi’s Peepli Live. Wow! Goes straight up in our list of Top 5 films of the year. And its a tough competition there  for the films to release in the next four months. The rest four are LSD, Vihir, Udaan and Ishqiya.

Back to Kiran Rao’s directorial debut Dhobi Ghat. The film is having its premiere at the Toronto International Film Festival (TIFF) and here is a write up by Cameron Bailey, the Co-director of the TIFF. Read on..

The rains in Mumbai are a beautiful curse. Sheets of water fall over the city, drenching and cleansing and casting vast millions in the same grey, glistening hue. Kiran Rao sets her impressive debut feature during Mumbai’s monsoon season, using the sound and visuals of the rains to bridge the divides between her characters. This is a love letter to her city, most of all to the work and art that drives Mumbai, rain or shine.

Indian superstar Aamir Khan plays Arun, a brooding painter introduced at a gallery launch of his work. Uninterested in small talk, he strikes up a flirtation with Shai, an Indian American woman visiting her family in the city. The next morning, awkwardness descends and he practically shoves her out the door. But, in the way of the Maximum City, Shai and Arun find themselves inextricably linked. They share a laundry man, a dhobi, who picks up and delivers their clothes. One of the millions of workers who keep Mumbai humming, Zohaib maintains a friendly but formal relationship with Arun. Shai, however, becomes fascinated with Zohaib and wants to follow him to the dhobi ghat, the city’s sprawling laundry district, where she hopes to indulge her photography hobby by capturing him at work.

Informed by Wong Kar-wai and Tsai Ming Liang, but directing with her own intimate sensibility, Rao draws her three characters together against the backdrop of a city that gives and takes in equal measure. In a subplot that illuminates the film’s themes, Arun discovers a series of video diaries left by the previous tenant of his apartment. In them, a young woman recounts her impressions of the city and reveals a tragedy in brief glimpses.

It took years for American independent cinema to develop its own narrative voices in contrast to Hollywood storytelling. In India, the emergence of a contemporary indie style is happening right now. Dhobi Ghat marks a major step forward for Indian filmmaking. It’s exciting that Aamir Khan and Kiran Rao are taking that step together.

And click here for the link to the original piece.

PS – Tip by Umar.

A few days back, Cameron Bailey, the Co-director of Toronto International Film Festival was in Mumbai scouting for films. And we have been trying desperately to read between his tweets, for any possible hint about any Indian film which gets selected for the fest. And our eyes popped out when he tweeted….

Found a film in Bombay. If it hits you like it hit me, it will leave you drenched with emotions you can’t quite name.

Woohoo! Quite strong words to describe a film! Which film it could be ? We started the “Aao Guess Karein” game on twitter soon. Many of us thought it might be some Marathi film, because of the way the industry is currently producing some of the best films. And what can you expect from Bollylalalalnd of Jackasses! Seems like the hint was in his previous tweet….

Rains, cows, spit, donkeys, gold, silk, oil, mustaches and lunch with a supremely gracious superstar: Day 2 in Bombay.

Hmmm. Gracious superstar, who would be interested in Film Festival! It cant be any Jackass Superstar! We knew that Aamir and Kiran have been trying to push Dhobi Ghat into the fest circuit for quite sometime. They have been meeting all those who can lead to the right contacts at the right places. Even getting the Academy Award winning music director Gustavo Santaolalla on board to compose the music of the film was a move in perfectly right direction. Cameron’s third tweet made our life lil’ simpler. He tweeted…

Also met a talented new filmmaker you’ll be seeing at #TIFF10

We just had to join the dots. But before we could guess it, a friend (Aseem Chhabra) confirmed that its indeed Dhobi Ghat. And later on, we also confirmed it through our sources. So, big congrats to Kiran Rao! Making a mark with your debut feature is any filmmaker’s dream come true!

Though we dont have much clue about the film’s plot yet but it seems the film is set in Mumbai and revolves around the lives of four characters, whose paths criss-cross at Dhobi Ghat and Aamir plays a painter in the film. Prateik Babbar plays the other lead. Its shot in real locations, with Mohammed Ali Road, Marine Drive and Dhobi Ghat being its famous backdrops.

And this year clearly seems to belong to debutants. First Anusha Rizvi went to Sundance Festival with Peepli Live, then Vikramaditya Motwane’s Udaan got selected for Cannes Film Festival and now Kiran Rao. Welcome the new kids on the block. Cheers!

And the irony is veteran filmmaker Mani Ratnam  is also getting honoured at the Venice Film Festival this year, the year when he made the worst film of his career. Post-Raavan, the joke is “woh kaun sa muh lekar Venice jaayega ? Arre, dus saar hai na. He can pick any one”. Sad indeed, but so true!

The Man Beyond The Bridge (Paltadacho Munis) – We wrote about this Konkoni film’s selection at TIFF in this post. And now the good news! The film has bagged the FIPRESCI Discovery Prize, voted by members of the International Federation of Film Critics at this year’s Toronto International Film Festival. The film is directed by Laxmikant Shetgaonkar.

Laxmikant ShetgaonkarThe jury citation for Shetgaonkar’s film read: “Far from the sensory overload of India’s big cities, this film explores smaller but enduring dilemmas, drawing together keen environmental sensitivity with a nuanced view of village dynamics.”

Shetgaonkar studied theatre arts and began his career as an acting instructor at the National School of Drama in New Delhi. He has directed several theatre productions, as well as both documentary and fiction films.The script prior to its production also went under fine tuning in the Script Lab organized by NFDC in ‘Film Bazaar 2007’.

And here is the synopsis of the film…

man beyond the bridgeThe Man Beyond the Bridge is a story about Vinayak, a forest guard, who lives a lonely life, with just the memories of his dead wife in a Government house in the dense forests of Goa-Karnataka border. His repeatedly rejected pleas for a transfer by his superiors in the Department of Forests have left him bitter. One night, he comes across a filthy, unkempt mentally challenged woman lying in the compound outside his house. He drives her away but she keeps returning. From his initial irritation with her filthy appearance and irate behavior, he slowly gets used to her daily visits looking for food and sleeping in the courtyard. With time, he begins to derive comfort from her presence.

Vinayak’s growing relationship with the woman initially, attracts some comment but evokes a strong protest in the village only when she gets pregnant. The villagers question Vinayak’s right over mentally challenged and helpless woman. They maintain that his relationship is morally incorrect and should be ended. However, for Vinayak, the woman is his companion and the mother of his child and there is no dilemma in his mind over this. Thus begins a conflict between a society that refuses to take responsibility of such a woman and one man’s endeavour to integrate her in his life. 

Whats Your Raashee ?The first review of Whats Your Raashee is out! This one is from Toronto International Film Festival (TIFF) where the film had its premiere. And as we told you in this post, Whats Your Raashee is indeed 3hrs 20mins long. Variety confirms it. So get ready with your pillows and bean bags if you plan to catch the film!

Back to the review or mini-review. Though the review doesnt say much but click here or scroll down to read the full review. 

For an hour, “What’s Your Raashee?” — the first romantic comedy from director Ashutosh Gowariker (“Jodhaa Akbar”) — zips along on a silly premise: Returning home to Mumbai, a young and handsome Chicagoan (Harman Baweja) has 10 days to find a wife and earn Grandpa’s inheritance, lest his brother’s gambling debt bring the family down.

But as Baweja’s sweet Yogesh proceeds to “interview” each of a dozen ladies (all played by Priyanka Chopra), and the film stretches to a whopping 211 minutes, even Bollywood aficionados will consider breaking the engagement. Likable leads can’t guarantee a sizable dowry upon the pic’s Sept. 25 release.

Each with a different astrological sign (or rashee), Chopra’s prospective brides run the gamut. Girl No. 1 is ditzy; No. 2 is a hot microbiologist with, alas, a boyfriend; the gum-snapping third girl occasions a big dance number; the fourth is painfully shy, a victim of past heartbreak; the fifth is a fussy businesswoman who brings along a prenup agreement; and after the sixth, who believes in reincarnation, there are still six more to go. Two or three peppy songs prove woefully insufficient to sustain a 3½-hour trifle, however good-looking.

The film is an adaptation of the novel Kimball Ravenswood. We hated the music (Sohail Sen), the promos, and now it seems the film will complete the full circle! Should Harman Baweja look for a new career option? Think so. Its high time! And Priyanka Chopra might get her name in some record book for potraying 12 roles in a film but all she needs is just 12 scenes! Watch Kaminey, ask Vishal Bharadwaj!

The film will release in India on September 25th. Am in no hurry to book my tickets! Who knows, might have to watch it in 12 installments!

Dil Bole Hadippa – Not sure how many of you are interested in knowing more about the film, but if you are, do read on.

In short, DBH = Chak De India + Rab Ne Bana Di Jodi! Thats what it looks like from this post. Produced by Aditya Chopra (Yashraj Films), its directed by Anurag Singh and stars Rani Mukherjee and Shahid Kapoor.

The film had its premiere at the ongoing Toronto International Film Festival. And a blogger Wasabigirl, who saw the film at TIFF has given out all the details about the film on her blog. Every small twist and every plot point of the story. Am sure Yashraj guys will not be too happy to read it. You can read the full post here (including premiere details) or scroll down, after the pics.

Complete story of Dil Bole Hadippa

The film starts out with Veera Kaur (Rani Mukherjee), a hardcore typical Punjabi kudi who is completely obsessed with cricket. She’s so confident of her abilities that she boldly claims that she can hit six sixers in a row, even when a pro pitcher takes her up on the bet. Not only does she succeed in putting the big strong man in his place by hitting all six sixers in a row, she even does so while switching from right-handed batting to left-handed batting! Clearly she is skilled, and as the first song montage Dil Bole Hadippa shows, she is a carefree spirit with very big dreams.

Veera also works alongside Shanno (Rakhi Sawant) and others in a dance troupe that performs regularly. Of course, while they perform, she’s backstage playing cricket with the kids, which is extremely endearing. Most of the time her elders tell her she’s dreaming way too big, but she doesn’t seem to care. She knows that dreams can come true, and for her, they will!

Enter into the story Rohan Kapoor (Shahid Kapoor) and his father Vikram Kapoor (Anupam Kher). Rohan is an accomplished cricket player in England who has lived there for many many years. His mother (Rati Agnihotri) stayed in England while Rohan’s father chose to stay in India and they have remained estranged for all of these years. In this way, Rohan has not returned to India. To get his son back to the land of Punjab, Vikram pretends he’s had a heart attack. Rohan rushes to India, but realizes that his father just wants to spend time with him, since they have been apart for so long. And besides spending quality time, Vikram also has other plans…

You see, Vikram’s close childhood friend, Liyaqat Ali Khan (Dilip Tahil) is from Lahore, Pakistan. To foster peace between the two nations, the friends have set up an annual Peace Cup where a team from Amritsar plays a team from Lahore in a cricket match. It’s all in the spirit of camaraderie, but Vikram and Amritsar have lost 9 times in a row! And now Vikram’s dream is to finally see the Indian team beat the Pakistani team, once and for all. He wants to feel proud again. That’s where Rohan comes in. Vikram asks Rohan to captain the Amritsar team and lead them to victory.

Rohan’s return to India leaves him mostly amused. When he comes across Veera for the first time, her adorably bad English and her defensive patriotism catch him completely off guard. She’s most definitely like no one he’s met before. The scenes between Rani and Shahid are amazing. These two have GREAT chemistry together. I could go ahead and describe their first meeting in more detail, but it’s something you have to see to really appreciate. 🙂

So, as time goes on, Veera finds out that the Amritsar cricket team is holding tryouts for selection. She gets EXTREMELY EXCITED and runs off to become the town’s new batting star. Unfortunately, when she goes to the tryout the security guards and the rest of the men in line scoff at the notion that a woman could play cricket with them. Rani is heartbroken and chastises them for their hypocrisy of revering Goddess Durga yet being unable to respect the women around them.

Veera returns to the dance troupe and is forced to replace the main male dancer in the show, because he’s drunk. In doing so she not only has a spiffy dance number, Bhangra Bistar, with Rakhi Sawant, but she also realizes that she can dress up as a man and possibly fool the cricketers into letting her onto the team! It’s worth a shot, na?

Rani freaks out when she sees that the same foreign jerk who annoyed her, Rohan, is the captain. He’ll figure out it’s her, won’t he?! She stumbles and lies and tells him her name is Veer Pratap Singh. She makes all sorts of bold claims and states that she has never been bowled out in her life. There’s not a man alive who can bowl her out! Vikram doesn’t like her attitude, so he challenges her, ends up bowling her out, and tells Veer to leave. She begs and pleads for a second chance, and Rohan’s father convinces him to give Veer another shot. Veer succeeds in impressing Rohan and is accepted into the team.

Meanwhile, we are introduced to Rohan’s friend from England who has a serious crush on him, Soniya (Sherlyn Chopra). She’s basically there to show off her body in short-shorts and make passes at Shahid’s character, most of which he ignores. 😛

Veer trains with the cricket team and isn’t all that great. Can you blame her? Veer aka Veera is really a girl, so of course she can’t always keep up physically. But Rohan pushes her hard. This pretty much increases Veera’s dislike for Rohan. She sees him as a bossy know-it-all. Anyway, throughout the initial training, we get to see lots of Veer-related hijinks to the song Gym Shim. Rani is pretty adorable as the bizarre Punjabi guy. You just have to see her crazy facial expressions to know what I mean. 🙂

We also get to see some cute flirting and dancing from Rani and Shahid in the song Discowale Khisko. They both can dance so well, yay! And it’s the typical fun Yash Raj number with the gorgeous outfits and tons of background dancers. Oh! And we get to see that Rohan has a thing for Veera. Veera still seems annoyed with him, but Rohan is quite fond of her.

During cricket team practice, Soniya shows up, hoping to ogle Rohan while he’s hard at work (lol, it’s what we were all doing XD). Unfortunately, due to some happenings on the field, Veer ends up tumbling over Soniya and falling on top of her. Soniya thinks that Veer’s trying to get fresh with her, but Veer scoffs at the notion that she would ever want to touch Soniya. Soniya gets pissed and throws her drink on Veer’s face. Veer runs away and Soniya complains about him to Rohan, who runs off to find Veer and talk to him.

Rohan heads off into the change room, calling for Veer. He opens the change room door only to find…a naked Veera?!! O_O (Lol, this part was SO HILARIOUS!!!) Rohan and Veera try desperately and awkwardly to salvage the situation. When Rohan asks what the hell Veera is doing there, she lies and says that Veer is her brother. More insanity and arguing ensues; Rani and Shahid perform brilliantly in a great comedic scene. Seriously, the change room scene is amazing. It’s another one that I can’t really describe, because you have to see it for yourself.

Veera quickly changes back into her Veer avatar, and when Rohan finally finds her, he is all forgiving and sweet. Of course, his reason for suddenly being so nice to Veer is because he just found out that Veera is Veer’s sister, and he wants to make amends. Naughty boy! 😉 Veer lies and says that Veera is probably back at the dance troupe, so they head off together. Veer tries to do whatever she can to get away from Rohan and change back into her regular Veera clothes. She uses the dance troupe show as a diversion and changes back into Veera.

Rohan wants badly to apologize for the things he said to Veera in the change room. She is not willing to relent. But Rohan is not one to give up! As Veera gets on stage and starts performing the show, she gets a big surprise. I don’t really think I can give it away, but suffice it to say that if you’re a fan of filmi references in movies, you’ll love this bit. Shahid and Rani are too cute together! 🙂 So, Veera finally forgives him and all is well in the world again.

The next day during cricket training, Rohan asks Veer if Veera said anything about him the night before (aww!). Veer is confused and asks why Veera would talk about Rohan. Veer then realizes that Rohan is interested in her. It doesn’t sit well with her, so she goes over to talk to Soniya and convinces her to try harder with Rohan. Veer tells Soniya to be more desi and traditional to get her man.

Soniya tries to do just that, wearing a sari and taking Rohan and his father around Punjab for a tour. She kinda fails at being desi, though. 😛 Along the way they run across Veera and the dance troupe truck. Rohan’s father takes a liking to Veera and tells her that if she shows Rohan around Punjab that he might see just how great it really is. Veera is completely fine with showing off the nation that she loves and we are given the very sweet song Ishq Hi Hai Rab. Veera and Rohan spend a lot more time with each other and Rohan becomes more and more comfortable in India.

Veer goes back the next day and tells Soniya to find someone besides Rohan, because, obviously, Veera kinda likes Rohan now. Rohan asks to speak with Veer and says that he wants permission from Veera’s brother to ask her out on a date (double aww!). In another ridiculously hilarious and adorable scene, Veer accepts the proposition and says that Rohan is allowed to ask Veera out.

Time for a cute date with Rani Mukherjee and Shahid Kapoor! Veera shows up looking hip, modern and GORGEOUS, which Rohan loves, but he also tells her that she should just be herself. They share an Indian dinner together and they laugh and generally have a good time. Rohan even goes so far to say that he wants a girlfriend just like Veera and that he has fallen in love with her. After I melted at how freaking GUUUUHHH Shahid is and re-solidified with hearts in my eyes, I got to see Rani’s sweet expression to his confession. Rohan leans in to kiss Veera and although she’s shocked at first, she leans in too…only to be interrupted by the honking horn of the dance troupe truck. Her ride is there to pick her up and the date is over. Their romancing will have to wait until the cricket match is over!!

Now, describing the cricket match is hard for me. I understood exactly what was happening while I watched it, but I’m not so well-versed in cricket that I could explain it in retrospect. So you’re going to have to bear with my vagueness.

Rohan’s mother comes down from England to see the match. This also allows her and Vikram to reconcile a bit. You know, it’s a Yash Raj Film, tied up loose ends and all that. The game starts off with India fielding and Pakistan bowling. Rohan is an excellent bowler and the Indian team is hitting wickets left right and centre. Not to mention that Veer catches a ball before it can reach the outer field. The rest of the cricket team is rejoicing at the auspicious start that they have and the boys dog pile Veer. In the process, Rohan ends up with one of Veer’s contacts in his hand and realizes that Veer was actually Veera all along. He hands her back the contact, but the look in his eyes says it all. He’s furious.

After this point, the Indian team falls apart. They had been doing excellently, but suddenly Rohan can’t bowl at ALL anymore. He’s completely distracted and the batsmen take full advantage. Even Veer is unable to catch the balls while fielding. After 10 overs Pakistan ends with a score of 213, which is pretty un-freaking-believable. The announcers admit that, once again, India is pretty much screwed.

Back in the change room, Veer attempts to explain to Rohan why she lied, but Rohan will have none of it. He’s angry and hurt and honestly thinks that Veera used him, in the romantic sense, so that she would stay in his good graces and on the team. Veera is shocked and upset but Rohan just won’t listen. Rohan dismisses her from the team and India starts off batting without their star batsman.

The first few overs of batting are a complete mess. Rohan is basically keeping the team alive, because the rest of his team are pretty terrible at batting. The whole game seems hopeless and Veera sits solemnly, neither watching the game nor leaving the stadium. Rohan’s father, who walked in on the argument Veer and Rohan had in the change rooms, knows that Veera was actually Veer. He convinces Rohan to let her back onto the team, as she is the only hope.

Veer gets back on the field and the duo of Rohan and Veer get into the groove. Rohan claims that he only called Veer back for his father’s sake, and not for her sake. Veera understands and admits to herself that she is not batting for herself, but for Rohan’s sake. They continue on triumphantly, closing the impossible gap between India and Pakistan.

One of the Pakistan players accidentally trips Veer during a run and she ends up injuring her arm badly. Rohan rushes to her side and quickly calls the medical team. They say that her arm is broken and that she cannot bat, but Veer is adamant that she will keep going, regardless. Rohan gives her an appreciative nod.

The Pakistani bowlers are shocked when Veer switches over from right-handed batting to left-handed batting and is still able to bat reasonably well. We are given many a dramatic moment after that (seriously how am I supposed to explain this? ;)) and finally the Indian team wins! Not that any of us was surprised.

They are all freaking ecstatic and Rohan is about to be awarded Man of the Match. He’s happy too, but he knows there’s still something left for him to do. He grabs Veer’s hand and brings her to the stage with him. Rohan announces that he was not the Man of the Match and that, really, the man of the match wasn’t a man at all! He takes off Veer’s turban, facial hair and contacts to reveal that Veer is actually Veera. People are pretty pissed off.

Veera sees that everyone is angry with her and that they can’t believe a *gasp* WOMAN has beaten them. Or played with them. Deceived them! So she steps up to the microphone to knock some sense into everyone. In the usual dramatic flair of Bollywood movies, we get an emotional speech about equality, ambitions, perseverance and dreams. The women watch with a knowing look on their faces while the men look on in shock. But Veera’s words are strong and true. By the end, they are left standing silently until the captain of the Pakistani team starts to clap. One by one the crowd begins to cheer for Veera Kaur and her amazing achievement. She not only kept up with the men, she surpassed them!

We are left with a very happy ending with the team lifting the trophy and Veera and Rohan reuniting. Your typical Yash Raj film, but just as satisfying as you would expect. To top it all off, we get to see an extremely hot Shahid and Rani in the video Hadippa The Remix as the credits roll by.

Its a strange situation in Goa. International Film Festival Of India is held in Goa, it get tourists from across the world. But Konkoni language doesnt seem to grow beyond the borders of Goa. But slowly, it seems to be changing. And here’s some good news.

Dil Bole Hadippa, Whats Your Raashee and Road, Movie are going to be screened at Toronto International Film Festival this year. The new addition to the list is Konkani film The Man Beyond the Bridge (Paltadacho Munis), produced by NFDC. The film is directed by Laxmikant Shetgaonkar, a filmmaker from Goa.

The film will be screened under the ‘Discovery’ section at this year’s TIFF which kicks off on 10th September. This section offers a window on contemporary international cinema. The movie will have a total of 5 screenings during the festival.

The script prior to its production also went under fine tuning in the Script Lab organized by NFDC in ‘Film Bazaar 2007’.

Synopsis : The Man Beyond the Bridge is a story about Vinayak, a forest guard, who lives a lonely life, with just the memories of his dead wife in a Government house in the dense forests of Goa-Karnataka border. His repeatedly rejected pleas for a transfer by his superiors in the Department of Forests have left him bitter. One night, he comes across a filthy, unkempt mentally challenged woman lying in the compound outside his house. He drives her away but she keeps returning. From his initial irritation with her filthy appearance and irate behavior, he slowly gets used to her daily visits looking for food and sleeping in the courtyard. With time, he begins to derive comfort from her presence.

Vinayak’s growing relationship with the woman initially, attracts some comment but evokes a strong protest in the village only when she gets pregnant. The villagers question Vinayak’s right over mentally challenged and helpless woman. They maintain that his relationship is morally incorrect and should be ended. However, for Vinayak, the woman is his companion and the mother of his child and there is no dilemma in his mind over this. Thus begins a conflict between a society that refuses to take responsibility of such a woman and one man’s endeavour to integrate her in his life.