IFFI Bulletin - 25 th November - International Film Festival of India

Cinema being state subject hampers
strong Cinema Policy: Shankar Mohan
S
everal Indian filmmakers
who have ventured the
road of a different kind of
cinema have lamented the
lack of distribution or exhibition
facilities for such ventures.
These filmmakers in fact
wanted the government to step
in to reduce taxes and create an
environment for art theatres to
come up in the country.
Agreeing that entertainment
tax was quite high in India, IFFI
Director Shankar Mohan said
this was partly because cinema
was a state subject and the
central government could not
take an independent decision in
this regard.
Speaking at the Open Forum
on Emerging Cinema - Trends
and Challenges, he also said
most countries had film policies
to guide them, but there was no
such policy in India as cinema is
a state subject.
However, he admitted that
the government had a role in
helping the growth of good
cinema and complimented the
Goa government for its decision
to establish a film city.
At the same time, he agreed
that a film with a good story
will ultimately find viewers who
believe in strong story-telling.
Renowned
Pan
Nalin
(Samsara),
Anjali
Menon
(Manjadikuru), and the eminent
Shaji N Karun however said
that a film would sell if it had
the right kind of content since author and Associate Professor
such films now had an audience of Cinema Studies, Jawaharlal
that accepted a different type of Nehru University, said in her
cinema.
opening remarks that filmmakers
The Forum was organized today faced the challenges of
by Habitat Film Club of India technology and globalization
Habitat Centre, New Delhi, in and so filmmakers had to work
collaboration with the
with an eye to the
Indian
Documentary OPEN FORUM future challenges.
Producers Association
Shaji lamented the
and the Federation of Film Societies fact that his first film ‘Piravi’
of India in association with the IFFI became a success in India only
Secretariat and the Entertainment after it had won more audiences
Society of Goa. IDPA President overseas than in India. The film
Mike Pandey was also present.
had been made on a small budget
Ira Bhaskar film scholar, of only Rs 5 lakh. He said in reply
to a question that the tools of
cinema became unimportant if
the content was good.
Pan Nalin said around 500 to
600 new filmmakers emerge from
film schools every year but they
will end up in sheer frustration
unless they could find avenues
of distribution or exhibition for
their films. However, he had
found spectators were keen to
watch new content. Thus every
film is a new struggle. He said in
many countries, multiplexes use
their screens for the commercial
cinema but keep one screen free
Awards don’t change life, they
open doors: Susanne Bier
S
usanne Bier, Danish film
director whose films are
being shown in a special
retrospective here, says that
life may not change on winning
awards, ‘but yes, it opens doors.’
Best known for her feature films
Brothers, After the Wedding and the
Academy Award winning In a Better
World Susanne has finally made it
India after having failed to turn up
at an earlier IFFI where she won an
award which was picked up by her so.
In a Better World is about a
Danish doctor who must deal with
conflicts at home as well as at an
African refugee camp. “It’s about the
distance between being redeemed
and being beyond redemption. At
what point does redemption become
impossible? Is there such a point?”
Ms Bier on her part promises to
watch as many Indian films as
possible and revert. “I really should
not be here” she says, explaining
that she has to resume work on a
partly-edited American film starring
Bradley Cooper.
The Beatles inspired the title of
her last project, “Love is All You
Need” starring ex-Bond Pierce
Brosnan and Trine Dyrholm which
premiered at the 69th Venice Film
Festival. “It’s a romantic comedy
with a serious underbelly. Comedies
are hard to make” says this maker
of family-oriented stories, adding,
“I don’t know when the film will be
released in India”.
Bond baddie Mads Mikkelsen
starred in Open Hearts a film about
the fragility of life and finding new
love the hard way. “I’m very proud
of Open Hearts but I can’t say which
is my favourite film. Can a parent say
which is her favourite child?”
Susan Bier says she has been
reading Indian literature but fights shy
of listing books read. And she has been
scouting for Indian stories for a few
years now, and “still looking. But it has
to be a story for a non-Indian director.”
Like many of her counterparts, Bier
gravitated to film after a academic
studies in other fields, She studied
comparative religion, the arts
in Jerusalem and architecture
in
London.
”
Architectural
studies helped me a lot as a filmmaker” she says. “The blueprint of a
building is like a script.”
Ronita Torcato
exclusively for art cinema.
He also regretted that high
entertainment was charged on
cinema tickets and the money did
not come back to the film industry
for being ploughed into new films.
Anjali,
relating
her
experiences, said that an advice
given to her by founder National
Film Archives of India Director
P K Nair had stood her in
good stead. He had asked her
whether she was just making a
film in Malayalam or for larger
audiences and she had taken the
message to mean that films must
appeal to global audiences.
She agreed that audiences had
begun to accept good content but
rued distribution outlets. These
audiences do not just depend on
critics. The only way out was for
audiences to become more proactive and not just depend on
distribution outlets.
She said the present time
was one of a turning point of
films with the whole dynamics
changing. Finding new content
had become a challenge in
itself. She also regretted the fact
that the money taken by the
government as entertainment or
other taxes was not given back to
the industry in any way.
Indian Habit Centre Director
Raj Liberhan announced that the
Centre’s next film festival from
11 May will have a retrospective
of megastar Amitabh Bachchan
who will also be present.
At
Today
Press Conference (Media Centre, Maquinez Palace Annexe)
11.00 am:Sakarin Suthamsamai, Somchai Khemlad (actors) The Gangster
(Thailand); Jacco Groen (Director), Lilet Never Happened
(Netherlands-UK); Rasit Celikezer (Director) Can (Turkey)
In Conversation (Maquinez Palace I)
3.30 pm: Susanne Bier (Director, In A Better World) and Anders Thomas
Jensen (Scriptwriter, Brothers) from Denmark
Chai ‘n Chat (Old GMC Bldg. Lounge, First floor)
1.15 pm: Once in a Lilifetime: Filmmakers to name their single
favourite film of the last 100 years of Indian Cinema.
Speakers:Suresh Jindal, Sumitra Bhave, Shaji N Karun, Sachin Chatte, Pradip
Biswas,V S Kundu. Moderator: IFFI Director Shankar Mohan
Open Forum (INOX Courtyard)
1.30 pm: Emerging Technologies
Panelists: Canon Representative, Mike Pandey (President, IDPA), Anoop
Jotwani(Leading Bollywood Director of Photography), Bedi
Brothers (Leading Documentary Film Cinematographers)
Black Box (Kala Academy)
11.00 am to 1.00 pm: Camera workshop & Screening
Emerging Technologies in Documentary Film Making:
Exploring Cinema EOS
Speaker: Bedi Brothers, DOP, Bedi Universal Films
YouTube Highlight for the day
Exclusive interview of renowned Omkara Director
Vishal Bhardwaj
02
IFFI | November 25, 2012
SCREENING SCHEDULE
Varied themes
26th November 2012
form essence of
Indian Panorama
T
he Indian Panorama had been established in 1978 as a
showcase of Indian cinema from which the Directorate
of Film Festivals selects entries for festivals overseas. In
the centenary year of Indian cinema, a total of 20 films
have been selected from out of just over 147 entries in various
languages from all over India.
There are five films in Malayalam - Dr Biju’s Akashathinte
Niram, K. Gopinathan’s Ithramathram, Madhupal’s Ozhimuri,
T.V. Chandran’s Bhoomiyude Avakashigal and Anjali Menon’s
Manjadikkuru; three in Bengali- Rituparno Ghosh’s Chitrangada,
Bappaditya Bandopadhyay’s Elar Char Adhyay and Kaushik
Ganguly’s Shobdo; two in Marathi - Sumitra Bhave and Sunil
Sukhtankar’s Samhita and Umesh Kulkarni’s Deool; two in
Hindi- Kamal K.M’s I.D, and Priya Krishnaswamy’s Gangoobai;
and one each in Byari – Suveeran’s Byari, Assamese - Jahnu
Barua’s Baandhon, Punjabi - Anhey Ghorhey Da Daan, Konkani
- Dnyanesh Moghe’s Digant, Bhojpuri- Nitin Chandra’s Deshwa,
Tamil - A. Sargunam’s Vaagai Shooda Vaa, Kannada - Girish
Kasaravalli’s Kurmavatara, and English- Unni Vijayan’s Lessons in
Forgetting.
Mukta Arts' latest Marathi film Samhita got a standing
ovation when it was screened at MAMI film festival in Mumbai
and IFFK in Cochin. The film is about an ailing producer who
wants his wife to produce a film on his favourite story. The film
stars Milind Soman, Rajeshwari Sachdev, and Uttara Baokar.
Manjadikkuru sets out to show the changing patterns in
relationships in a disintegrating matriarchal family in Kerala
through the eye of a ten-year old who returns to his ancestral
home after several years of staying in Dubai. Girish Kasaravalli’s
Kurmavatara is virtually a satire on how an old government
servant becomes a popular person after he plays the role of
Gandhi in a TV serial. The title draws upon the mythology of
Lord Vishnu’s tortoise avatar as a metaphor for the immense
stress that great responsibility brings.
Gangoobai is a poignant tale of a childless elderly widow
whose quiet life gets disrupted in the colonial hill station of
Matheran when she sees a designer Parsi sari and manages
against all odds to raise money over four years of hard work to
own one herself. Sarita Joshi excels in the title role in the heart
warming and cute film. I.D directed by Kamal, is a brilliant film
about identity of a human being in a crowded city like Mumbai.
It is interesting to note that the film with new faces has been
produced by Sound Designer Resuol Pookutty with DOP Rajiv
Ravi, Madhu Neelakantan, Editor Ajit Kumar B and production
designer Sunil Babu under the banner Collective Phase One. The
film has been made in digital format.
Dnyanesh Moghe’s Diogant (Konkani) is a poignant film
about a shepherd who wanders in the woods with his sheep
and visits his son and would-be daughter in law in the city who
decides to leave her rich background and live in the forest after
seeing the innocence and purity of nature in the form of the
shepherd.
-Jyothi Venkatesh
27th November 2012
28th November 2012
IFFI | November 25, 2012
{’$ë‘ à^mJ {d{eï>-CËH¥$ï>
^
03
{’$ë‘m| Ho$ à{V H¥$V-g§H$ën
maVr` {gZo‘m Ho$ eVmãXr ‘hmoËgd
Zo {’$ë‘ à^mJ H$mo EH$ Z`r COm©
Am¡a ñ’y${V© go ^a {X`m h¡. AVrV
‘| AnZr {Og {d{eï>Vm Ho$ {bE {’$ëåg
{S>drµOZ OmZm-nhMmZm OmVm ahm h¡ Cg‘o
A~ H$B©-H$B© ZE AÜ`m` Ow‹S>Zo Om aho h¢.
EH$ {deof gmjmËH$ma ‘| ~mV-MrV Ho$
Xm¡amZ dr.Eg.Hw§ Sw> Zo AmJm‘r H$m`©H«$‘m| H$m
Iwbmgm H$aVo hþE ~Vm`m {H$ {’$ë‘ à^mJ
AnZo g^r VH$ZrH$s `§Ìm|, ñQy>{S>`mo H$m
ZdrZrH$aU Ho$ gmW BgH$s ñd-j‘VmAm|
H$m ^anya BñVo‘mb H$aZo hoVw Amdí`H$
~Xbmd ‘| OwQ> J`m h¡. {gZo‘m Ho$ gm¡ gmb
Ho$ CËgd df© ‘| {OZ ZE àmoOoŠQ> na H$m‘
àmaå^ hmo MyH$m h¡ CZ‘o ^maVr` aob Am¡a
{’$ë‘ H$s g§`wº$ ^mJrXmar AWm©V ‘ob{‘bmn na d¥Îm {MÌ ~ZmE OmZo H$s V¡`mar
dr.Eg. Hw§ Sw>
h¡. Bgr H«$‘ ‘| ‘w§~B© ‘| EH$ d¥hX² {gZo ^r OmEJm.
g§J«hmb` ~ZmE OmZo H$m H$m`© àmaå^ hmo ^maVr` {gZo JrV-g§JrV H$mo EH$ à‘m{UH$
MwH$m h¡ Omo AJbo df© ‘mM© ‘mh VH$ nyam hmo XñVmdoO H$s Vah d¥Îm-{MÌm| Ho$ H$B© IÊS>m|
‘| noe H$aZo H$s ê$n-aoIm Ho$ gå~ÝY ‘|
OmZH$mar XoVo hþE dr.Eg.Hw§ Sw> Zo `h ^r
~Vm`m {H$ {gZo‘m Ho$ eVmãXr Am`moOZ hoVw
{’$ëåg {S>drµOZ, (gyMZm àgmaU ‘§Ìmb`, ^maV gaH$ma) Ûmam ^maVr` {gZo‘m H$m
d[að> {’$ë‘H$ma í`m‘ ~oZoJb H$s AÜ`jVm
amï´>s` g§Jh« mb` (ZoeZb å`y{O`‘ Am°’$ B§{S>`Z {gZo‘m) ‘w~B© ‘| {’$ë‘ à^mJ n[aga
‘| EH$ g{‘{V H$m JR>Z {H$`m J`m h¡ Omo
‘| {Z‘m©UmYrZ h¡. OZ gmYmaU Am¡a g^r {gZo ào{‘`m| go AZwamoY h¡ {H$ `{X CZHo$ nmg
AnZm H$m`© àmaå^ H$a gH$mamË‘H$ n[aUm‘
AWdm CZH$s OmZH$mar ‘| ^maVr` {gZo‘m go OwS‹ >o Eo{Vhm{gH$ ‘hÎd Ho$ H$moB© ^r nwamZo Xwb^©
XoZo bJr h¡.
‘yb ’$moQ>m,o nmoñQ>a, S>mH$ {Q>H$Q>, pñH«$ßQ>, H$mñQ>ç‘ÿ , aoH$m°S>© , H¡$‘am, VH$ZrH$s `§Ì VWm AÝ`
^maVr` g§JrV, Z¥Ë`, {gZo‘m, H$bm g{hV
gå~§{YV dñVwE§ h¢ Vmo Bgo àñVm{dV amï´>s` g§Jh« mb` ‘| g§Jh¥ rV H$aZo hoVw ñdoÀN>m go XmZ
^maVr` ñdV§ÌVm g§J«m‘ Am¡a amOZr{V VWm
H$a|. Bg hoVw {H$`o JE XmZ H$m C{MV lo` Ed§ Am^ma ào{fV {H$`m OmEJm.
AÝ` ‘hËdnyU© joÌm| na Omo Xwb©^ d¥Îmg§nH©$ gyÌ: {’$ëåg {S>drµOZ, 24 S>m°. Jmonmb amd Xoe‘wI ‘mJ© (noS>a amoS>), ‘w§~B©
{MÌ {’$ë‘ à^mJ Ho$ nmg g§a{jV h¢ CZ
400 026. ’$moZ: 91-22-23510461({dñVma- 447, 448)/ 2353 3342.
g~ H$m ì`mnH$ ì`mdgm{`H$ {hV gmYZo Ho$
B© ‘ob: nmicfilmsdivision.org do~ gmB©Q : www.filmsdivision.org
gmW-gmW Bgr àH$ma Ho$ Am¡a ^r {d{eï>
Anrb
dr.Eg. Hw§ Sw>, ^maVr` àemg{ZH$
godm Ho$ EH$ d[að> A{YH$mar h¢ Omo
AnZr àemg{ZH$ H$m`©-Hw$ebVm
Ed§ aMZmË‘H$Vm hoVw OmZo OmVo h¢.
‘¥Xw ^mfr Am¡a ñnï> {ZU©` Ho$ gmW
{‘b-Owb H$a H$m`© H$aVo hþE ~m§{N>V
n[aUm‘ VH$ ghO nhþ±M OmZm BZHo$
H$‘© joÌ H$s {deofVm ahr h¡. {’$ë‘
Am¡a ’$moQ>moJ«m’$s ‘| {deof ê${M VWm
XIb aIZo dmbo dr.Eg. Hw§ Sw> EH$ J§^ra
{gZo ào‘r Ho$ gmW-gmW BgHo$ {Z‘m©U
Ho$ g^r VH$ZrH$s njm| H$m ^anya kmZ
^r aIVo h¡. {’$ëåg {S>drµOZ Ho$ ‘hm
{ZXoeH$ Ho$ nX na AmgrZ hmoZo Ho$ Hw$N>
hr ‘mh Ho$ AÝXa BZHo$ Hw$eb ZoV¥Ëd ‘|
Omo CnbpãY`m§ gm‘Zo AmB© h¢ do AmZo
dmbo g‘` H$m EH$ J[a‘m‘` AmH$f©H$
Ñí` àñVwV H$aVr h¢.
d¥Îm-{MÌm| Ho$ {Z‘m©U H$s à{H«$`m H$mo ^r ‘yV©
ê$n {X`m Om ahm h¡.
dr.Eg.Hw§ Sw> Ho$ ZoV¥Ëd ‘| AmJm‘r dfm]
‘| CnbpãY`m| H$m J«m’$ H$m’$s D$±Mm ahoJm
BgH$m A§XmµOm Bâ’$s àm§JU ‘| bJo {’$ëåg
{S>drµOZ Ho$ ñQ>mb na ~T>Vr ^r‹S> Am¡a bmoJm|
H$s AË`{YH$ ê${M go bJm`m Om gH$Vm h¡.
B{Vhmg H$mo ghoO H$a aIZo dmbm `h
g§ñWmZ A~ ñd`§ hr B{Vhmg aMZo H$s amh
na AmJo ~‹T> MwH$m h¡.
S>m°. amOrd lrdmñVd
C^aVm {gZo‘m: éPmZ Am¡a MwZm¡{V`m§
A
mO {dœ ^a ‘|
{gZo‘m AnZo
AmYw{ZH$
ñdén ‘| {Og àH$ma Am‘
OZVm Ho$ ‘Ü` ‘wIa hmoH$a
gm‘Zo Am ahm h¡ Cggo
gm‘Zo AmVr MwZm¡{V`m| Am¡a
CgHo$ éPmZ H$s naV| ^r
ñnï> {XIZo bJr h¢.
H$b AmonZ ’$moa‘ ‘| /
C^aVm {gZo‘m:éPmZ Am¡a
MwZm¡{V`m§/ {df` na hþB©
Iwbr g§Jmoð>r ‘| Bâ’$s
g‘mamoh {ZXoeH$ e§H$a
‘mohZ, g‘gmam {’$ë‘ Ho$ Ho$ {ZXoeH$ amO {b~oahZ Zo
{ZX}eH$ n¡Z Z{bZ, A§O{b ^mJ {b`m.
‘oZZ, emOr EZ. H$éU {gZo‘m na bJo ‘Zmoa§OZ
g{hV B§{S>`Z h¡{~Q>mQ> g|Q>a H$a na AnZr am` aIVo
hþE e§H$a ‘mohZ Zo
{H$ Bg {df` na
Am¡a amÁ` gaH$ma
H$a g§`wº$ ê$n go
H$hm Zr{V ~Zm gH$Vr h¢ {Oggo
H|$Ð A§VV… {gZo {Z‘m©VmAm| H$mo
{‘b bm^ {Xbm`m Om gH$Vm h¡.
EH$ n¡Z Z{bZ Ho$ AZwgma Xoe
‘| à{V df© {d{^Þ {’$ë‘
g§ñWmZm| go bJ^J 6gm¡
N>mÌ-N>mÌmE§ Cg g‘`
AË`{YH$ hVmoËgm{hV hmo
OmVo h¢ O~ CÝh| AnZr
{’$ë‘m| Ho$ {bE {dVaU
Am¡a àXe©Z Ho$ Adga
gwb^ Zhs¨ hmo nmVo h¢.
A§O{b ‘oZZ `h ñdrH$ma
H$aVr h¢ {H$ {’$ë‘ H$m
{Z‘m©U ì`mnH$ d¡{œH$
{dMma H$mo Ü`mZ ‘| aI H$a
~Zm`r OmZr Mm{hE Z {H$
ñWmZr` `m {H$gr joÌ/
dJ© {deof Ho$ gr{‘V Xm`ao
‘| ~ZmZr Mm{hE.
CnpñWV {gZo ào‘r Am¡a
{dMmaH$m| Ûmam Bg Iwbo
‘§M na {H$`o JE {dMma{d‘e© Am¡a ^mJrXmar H$m
CËgmh nyd©H$ ñdmJV {H$`m
J`m.
àoaUm e‘m©
04
IFFI | November 25, 2012
{dœ-{gZo‘m: g§doXZm H$s naVm| Ho$ ZE AŠg
Bâ’$s 2012 ‘| {dœ-{gZo‘m
I§S> ‘| nhbo gámh H$s {’$ë‘m|
go ‘Zwî` ‘Z Ho$ gmB©H$mo Am¡a
gm§gm[aH$Vm, {‘W, Xme©{ZH$Vm
go grYo gmjmËH$ma H$am`m.
CXKmQ>Z {’$ë‘ bmB’$ Am°µ’$
nmB© (E§J br), g‘gmam (dmZ
Z{bZ), pñà§J, ñba, ’$mbqdQ>a E§S> pñà§J ({H$‘ H$s S>H$),
gm§gm[aH$Vm Am¡a B©œa Ho$ {‘W
VWm àH¥${V Ho$ ê$nH$m| H$s S>moa
go ~§Yr {µ’$ë‘| h¢. g~go ‘hÎdnyU©
à{V`mo{JVm I§S> H$s {’$ë‘m| ‘| X
doQ> ({H$`y hdmZ {O`moZ) Am¡a
BZ ’$moH$g ‘| {nEQ>m ({H$‘ H$s
S>H$), VWm amoµO (dmoO{gM
ñ‘maOmodmñH$s), CZm ZmoMo (bwgr
‘wbmo`), {gñQ>a (Cgw©bm {‘`a),
Ebma Mma AÜ`m` (~ßnm{XË`
~§ÝÚmonmÜ`m`), A§Yo Kmo‹S>o H$m XmZ
(JwaqdXa qgh), dmBQ> Q>mBJa
(H$maoZ emImZmOmamod) gmW hr
lÕm§O{b I§S> ‘| X ~r H$sna H$s
dmngr ‘Zwî`‘Z Ho$ AdMoVZ-nj
go gmjmËH$ma H$m Adga XoVr h¢.
BZHo$ Abmdm Vo’w$a AXrZ {ZX}{eV
Q´og Am¡a AmW©a {d{gH$ H$s Amb
‘¡Ï`yµO dy‘Z Ho$ H§$Q>|Q>, b¢S>ñHo$n
Am¡a ÌmgX gm§gm[aH$Vm Ho$ ~rM Ho$
gwIX jU Bg {’$ë‘moËgd H$s ZB©
CnbpãY`m§ h¢.
Bâ’$s H$mo H$m{Z©dmb g‘PZo
dmbm| H$mo A~ g‘P ‘| Am J`m
h¡ {H$ BZ {’$ë‘m| Ho$ ‘mÜ`‘ go
H¡$go CgZo AnZo Bg ZyVZ AdVma
‘| H|$Ð ‘| `y{Zdg©b Wr‘ VWm
O{Q>b- {~å~m| Ho$ ghO aMmd H$mo
hr à‘wIVm Xr h¡ Am¡a {dœ{gZo‘m
Ho$ nma§n[aH$ T>mM± o ‘| {Za§Va Am
aho T>mM± o ‘| H$m`mH$ën hmoVo {XIm
{X`m h¡. `y± AVwë` ^maVloUr Ho$
VhV Om°Z ‘S>mZ Ho$ {ZX}eZ ‘|
~Zr ~oñQ> EŠOmo{Q>H$ ‘oarJmoëS>
hmoQ>b H$s {XbMñn CnpñW{V
^r EH$ hr OJh (O`nwa) ~wO
µ Jw ©
{dXoer M[aÌm| H$s ZH$M‹T>r Xw{Z`m
H$m OmZXma Am¡a emZXma ImH$m
noe H$aVr h¡. Bg {’$ë‘ ‘| Xod
nQ>b
o Ho$ nmÌ Ooåg ~m§S> {’$ë‘m| H$s
OyS>r S|>M Ho$ Abmdm ‘oJr ñ‘rW,
{b{bQ> Xw~,o {g`amo B‘amo, {~b
{Z{Y, amoZmëS> nrH$An Am¡a Q>m‘°
{ZqH$gZ H$s ^y{‘H$mE§ g‘m± ~m§YVr
h¢. `h XaAgb àH$mam§Va go {~N>S‹ >o
Am¡a ZH$M‹T>o ZE ~ZVo{~J‹S>Vo OmoS‹ >m|
H$s ãb¡H$-H$m‘oS>r h¡. Bgr loUr ‘|
god Ada bo½g, X Zo‘ goH$ O¡gr
{µ’$ë‘m| H$mo ^r em{‘b {H$`m J`m h¡.
Bg ~ma gámhmÝV (’$ñQ>© hmµ’$)
H$s BZ Mw{ZÝXm {’$ë‘m| ‘| {H$‘ H$s
S>H$ H$s F$Vw‘`r àñVw{V pñà§Jg‘a.. H$s Xme©{ZH$Vm Am¡a ghO
gm§gm[aH$Vm Ho$ F$Vw-MH«$ go nmÌm|
Ho$ JwOaZo H$s ‘mZ{gH$nr‹S>m VWm
dZñn{V-OJV ‘| CZHo$ CnMma
H$s {H«$`mE§ A{ÛVr` à^md N>moS>Vr
`wdm {’$ë‘H$ma
AZyR>m {MÌH$ma
Jmodm A§Vaamï´>s` {’$ë‘ ‘hmoËgd
‘| {nN>bo Hw$N> dfm] go ‘wå~B© Ho$
g§dXo Zerb {’$ë‘H$ma d {ZX}eH$
MånH$ ~¡ZOu AmVo aho h¢. AnZr
{Ma-n[a{MV ‘wñH$mZ {bE MånH$
~¡ZOu Ho$ gmW h‘mar ‘wbmµH$mV {’$ë‘ ~mµOma ‘|
hmo JB©.CÝhm|Zo ~Vm`m {H$ Bg df© do EZ.E’$.S>r.
gr. Ho$ So>{bJoQ> Ho$ ê$n ‘| AnZr Hw$N> nQ>H$WmH$Wm A§Vaamï´>s` {’$ë‘ ~mµOma Ho$ {bE à‘moQ> H$a
aho h¢.CZH$s {’$ë‘ dmngr {Z‘m©UmYrZ h¡,bmñQ>
dma `wÕ n¥ð>-^y{‘ na AmYm[aV A§Vaamï´>s`
empÝV H$s H$hmZr h¡. {’$ë‘ ~mµOma ‘| CÝhm|Zo
H¡$ZoS>m,O‘©Zr,B©amZ Ho$ So>{bJoQg
² go ~mV H$s h¡.
CZH$s nhbr {’$ë‘ E OZu Qy> n¡amS>mBg Bâ’$s
Jmodm Ho$ àXe©Z Ho$ ~mX ’«$m§g d AÝ` A§Vaamï´>s`
‘hmoËgd ‘| {XImB© J`r. CZH$s bKw {’$ë‘ g¥{ï>MH«$ H$mo Zm{gH$ {’$ë‘ ’o$pñQ>db ‘| XmXm gmho~
’$mëHo$ OÝ‘^y{‘ nwañH$ma àXmZ {H$`m J`m.{’$ë‘
{Z‘m©U d {ZX}eZ Ho$ gmW do ‘wå~B© ~mbrdwS>
{’$ë‘, Q>{o b{dµOZ ‘| A{^Z` ^r H$aVo aho h¢.
Bâ’$s2012 ‘| EH$ Eogo AZyR>o {MÌH$ma go
‘wbmµH$mV hþB© Omo H$B© dfm] go {Za§Va Jmodm VWm
Xoe Ho$ AÝ` ñWmZm| ‘| hmoZo
dmbo {’$ë‘ g‘mamohm| ‘| AmVo h¡.
BZH$m Zm‘ h¡ EZ. S>r. AmS>‘
Am¡a `o 74 dfu` h¡. `o 1990
go A~ VH$ H$ar~ 1400 ñH¡$M
~Zm MwHo$ h¢. `o {’$ë‘m| Ho$ Q>mB©{Q>b J«mq’$J ^r H$aVo
h¢. Jmodm Bâ’$s 2012 ‘| Am`o ‘w»` A{V{W Aj`
Hw$‘ma VWm Xoe{dXoe Ho$ A{V{W`m|à{V{Z{Y`m| Ho$
aoIm{MÌ BÝhmoZo ~ZmE h¢. bmB’$ AMrd‘|Q> AdmS©>
nmZo dmbo nmob¢S> Ho$ {’$ë‘-{ZX}eH$ {H«$OQ>m’$
OmZwer, nmob¢S> Ho$ g§ñH¥${V-‘§Ìr Am{X AZoH$
ì`{º$`m| Ho$ {MÌ `o ~Zm MwHo$ h¢.
{’$ë‘ ’o$pñQ>db ‘| `o 2005 go bJmVma Am aho
h¢. Jmodm Ho$ nhbo {’$ë‘ ’o$pñQ>db Ho$ ‘w»` A{V{W
d[að> Zm`H$ {Xbrn Hw$‘ma Wo, {OZH$m aoIm{MÌ
^r BÝhmoZo ~Zm`m Wm. `o ‘hmË‘m Jm§Yr Or Ho$
J«m{’$Šg ^r ~Zm MwHo$ h¢ .BZHo$ Ûmam ~ZmE JE
aoIm{MÌm| H$mo g~H$s ^anya gamhZm àmá hmo ahr h¡.
MånH$ ~¡ZOu
EZ.S>r.AmS>‘
h¢.gm§n,‘|T>H$ Am¡a ‘N>br H$s
OrdZe¡br Ho$ {~å~ ‘Zwî`OrdZ na
ê$nm§V[aV H$aZo H$s {dñ‘`H$marH$bm {H$‘ H$s Wr‘ (OrdZ Š`m
h¡) H$mo ahñ`‘`Vm Ho$ gmW Z`m
AmH$me, ZB© g¥{ï> àXmZ H$aVr h¡.
{H$‘ H$s ~mahds¨ {’$ë‘ X ~mo ^r
CVZr hr gmpËdH$Vm Am¡a amoMH$
M[aÌm| H$s AgmÜ`-gmYZm Am¡a
MmhZm H$m AmñdmX H$amVr h¡.
à{V`mo{JVm I§S> H$s amoµO
H$s A{^ZoÌr AJmWm Hw$bgOm
O‘©Z g¡{ZH$ H$s {dYdm H$s
^y{‘H$m ‘| AnZo gdm}Îm‘ A{^Z`
H$s l|Ur ‘| ~mH$s Ho$ {bE MwZm¡Vr
gm{~V hmo gH$Vr h¡ Vmo {nEQ>m, S´r‘
Am¡a ~«oW ^r {H$`y hdmZ {O`moZ
H$s O{Q>bV‘ àñVw{V X doQ> Ho$
‘wH$m~bo VmOmX‘ {df`m| Ho$ ahVo
nrN>o Ny>Q> gH$Vr h¡. hmbm§{H$ Cg‘o
‘mOm {‘bmog H$s CÝ‘mX H$s g^r
hX Vmo‹S>Zo dmbr pŠbn H$s Zm{`H$m
Ho$ `m¡Z-ì`m‘moh H$s H«$sS>mE§ Z
hmoVo hþE ^r ‘moM©ar ‘| edm| go
gå~ÕVm H$s nyaH$ ‘m§J| CVZr
hr dm`dr` h¢. Ho$db ‘w»` nmÌ
H$s H$marJar Am¡a ’|$Q>o{g`m± MmoOB©. øÿZ Am¡a {O`m Ho$ {H$aXmam|
H$mo ~mH$s O{Q>b {df`m| go ~wZr
JB© {’$ë‘m| go Cgo OwXm aIVr
h¡.O~{H$ pŠbn AnZo {MÌU Am¡a
CÔrnZ ‘| H$moHw$Aa Am°µ’$ X {gQ>r
O¡gr {’$ë‘m| H$s l|Ur ‘| AmVr h¡.
X doQ> Ho$ ê$nH$,~obo H$s H$ënZm
Am¡a Vm~yV ‘| `m¡{ZH${dÐÿnVm Ho$
gmW Xmo nmÌm| H$m A§{V‘ gµ’$a
gZgZr n¡Xm H$aVm h¡. gdm©{YH$
à^mdembr {µ’$ë‘| VwH$s© go h¢. BZ‘|
Am‘}{Z`m Ho$ 1950 Ho$ V~mhr
Ho$ b¢S>ñHo$n,AnZr µO‘rZ,Jm±d
Am¡a ‘m± go {~Nw>‹S>Vo {nVm-nwÌ
Ho$ µOÁ~mVr ‘§µOam| Ho$ VZmdnyU©
Q>H$amd VWm {nVmnwÌ H$s Am‘}
{Z`m dmngr H$s ~’$s©br`mÌm Ho$
q~Xw ‘m{‘©H$ h¢. à{V`mo{JVm I§S>
H$s JwaqdXa qgh {ZX}{eV A§Yo
Kmo‹S>o H$m XmZ Vmo ~ma- ~ma XoIo
OmZo dmbr ~moëS> ^maVr` {gZo
H¥${V h¡. àVmn qgh
{’$ë‘-VH$ZrH$ Ho$ joÌ ‘| `wdm à{V^m
‘Zmoha qgh {~ï>
Bâ’$s-2012 ‘| AZoH$ `wdm à{V^mE§ AnZr `mo½`Vm H$mo H$m`©-joÌ H$s
H$gm¡Q>r na Iam gm{~V H$aZo H$m AWH$ à`mg H$a ahr h¢. BZ‘o ‘Zmoha
qgh {~ï> ^r EH$ h¢ Omo {’$ë‘-à^mJ ‘| B§Or{Z`a Ho$ nX na H$m`©aV h¢.
BÝhm|Zo {’$ë‘ E§S> Q>r.dr. Q´oqZJ
B§pñQ>Q>çÿQ>, nwUo go dr{S>Amo E{S>qQ>J
‘| {S>ßbmo‘m {H$`m h¡. {nN>bo N>… dfm]
go XmXm gmho~ ’$mëHo$ nwañH$ma àmá
{’$ë‘H$mam| na `o ~m`moJ«m{’$H$b
{µ’$ë‘| ~Zm MwHo$ h¢. ’$mëHo$ nwañH$ma
go gå‘m{ZV ‘ehÿa N>m`m {MÌH$ma dr. Ho$.‘y{V© na BZHo$ Ûmam ~ZmB© JB©
{’$ë‘ bmBQ> eoS>mo E§S> ‘r H$s S>r.dr. S>r. AmB©ZmŠg n[aga ‘| {’$ë‘à^mJ
H$s ñQ>mb na {~H«$s Ho$ {bE CnbãY h¡. `h EH$ à^mdr {’$ë‘ h¡ {Og‘o
‘y{V© gmh~ eÿqQ>J Ho$ Xm¡amZ JwéXÎm, í`m‘ ~oZoJb, Jmo{dÝX {ZhbmZr,
dhrXm ah‘mZ VWm A{‘Vm^ ~ƒZ Ho$ gmW hþE AnZo AZw^dm| Am¡a g§dmXm|
H$m {µOH«$ H$aVo h¢. dV©‘mZ ‘| S>m°.Zm`Sy> VWm S>m° Ho$. ~mbM§Xa na {µ’$ë‘|
{Z‘m©UmYrZ h¢.
C„oIZr` h¡ {H$ {’$ë‘-à^mJ Ho$ {bE ‘Zmoha EH$ {d{eï> {’$ë‘ h§S´oS> B`a
Am°µ’$ {gZo‘m {ZX}{eV H$a aho h¢. {~b ~moS©> n|Q>a Am°µ’$ {’$ë‘ B§S>ñQ´rµO Ho$
AYrZ Bg {’$ë‘ H$s eÿqQ>J Mb ahr h¡. h§S´oS> B`a {gZo‘m go{b~«oeZ Ho$
VhV OZdar ‘mh VH$ `h {’$ë‘ ~Z H$a nyU© hmo Om`oJr.
àoaUm e‘m©
Bâ’$s So>br : qhXr g§ñH$aU
gånmXH$: S>m°. amOrd lrdmñVd / gånmXH$s` gh`moJ: àoaUm e‘m©
IFFI | November 25, 2012
05
Remembering those greats who gave us so much II
T
he 43rd IFFI
t h e r e f o r e
remembers some
of the greats
who contributed so much
but left us in the prime
of their careers in the
film industry. The year
2011-12 marked a sad
chapter in that a large
number of film personalities
left us between December
last year and now.
Ashok Mehta (1947-August
2012)
was an ace
cameraman who
made
a
name for
himself
in
filmdom. Born in Punjab
and graduated from the
Film and Television Institute of India in the art
and science of Cinematography, he is remembered for films like Bandit Queen (1994), 36
Chowringhee Lane (1981)
and Utsav (1984). He
won the national film
award for best cinematography twice for the
films 36 Chowringhee
Lane (1981) and Moksha (2000), which he
also directed. He worked
both with directors of
mainstream Bollywood
like Subhash Ghai (Ram
Lakhan
1989), Saudagar (1991) and Rajiv
Rai (Gupt 1997), Mukul
Anand (Trimurti 1995), as
well as parallel cinema directors, like Shyam Benegal (Trikaal 1985), Mandi 1983), Aparna Sen (36
chowringhee Lane 1981),
(Paroma 1984)
and
also with non-mainstream or parallel cinema directors
like
Shekhar Kapoor, Girish
Karnad, Gulzar (Ijaazat-1987) and M F Hussain (Gaja Gamini -2000). Avtar Kishan Hangal
(1917-August
2012)
was a well
k n o w n
Freedom
Fighter in
his youth.
He was a
life member
of the Communist Party of
India (CPI). From 1929 to
1947, he was very active on
stage and had co-founded
the Indian People’s Theatre
Association (IPTA). In
1966 he joined Hindi films
as a character actor, but
also continued to work in
theatre which was his first
passion. In a 39-year long
film career, he enacted
various character roles
in about 225 films and
also worked in numerous
TV serials. Although his
most popular film was
“Sholay” ,he will also
be remembered for his
roles in films “Aaina”,
“Shaukeen”,
“Namak
Haraam” ,Manzil”, and
“Prem Bandhan”. For his
life ling contribution to
SCREENING SCHEDULE
29th November 2012
30th November 2012
arts, he was conferred
Padmabhuan in 2005.
Dinesh Thakur
(1947September
2012) was
a talented
film actorwriter and
stage producer- director. After graduation from
Delhi ,he made his film
debut in 1971 with ‘Mere
Apne’,
written
and
directed by Gulzar, and
followed it up with Basu
Bhattacharya’s Anubhav
(1971) which was the
first of a trilogy on
marital discord in urban
settings. Thereafter, he
also appeared in the third
Rajen Kothari
(1942- September 2012)
was a prolific and expert
Cinematographer,
besides
writing
and
directing two
films. He died
of
sudden
cardiac arrest
while he was
busy in work
at the Whistling Woods
International. He was the
favourite
cinematographer
of Shyam Benegal, Prakash
Jha and Rajkumar Santoshi.
Starting his career in 1982,
he first photographed four
documentary
films
and
then worked in 22 feature
films starting with Prakash
Jha’s “Hip hip Hurray” and
“Mrityudand”. Then came his
award winning films “Zubeida
“, “Ghayal” (Filmfare’s best
Cinematography award) and
“God Mother”. He was also
appreciated in films “Damini”
and “Welcome to Sajjanpur”.
He had directed two films
“Panga Na Lo” and “Purush”
but both films flopped.
Yash Chopra
(1932-October
2012)
was an icon
and
legend
of the Film
Industry.
He
was described
as “King of
Romance”, “Box
Office Magician”, “Filmmaker
film, Griha Pravesh (1979).
In 1974, he appeared in
Basu Chatterjee’s landmark
Rajnigandha with Amol
Palekar and Vidya Sinha,
which won the Filmfare
Best Film Award.
He
also starred in “Ghar”
with Rekha which he had
written and for which he
bagged the best writer
award from Filmfare.
He worked in 39 films in
various roles.
After marrying actress
Meenaxi, he established
Ank Theatre Group in
1976, dedicated solely to
Hindi theatre in Mumbai.
He produced and directed
15 plays. He later divorced
Meenaxi and married stage
actor Preeta Mathur.
Par
Excellence”,
“Astute
Businessman” etc. And all
these nomenclatures were true
for this filmmaker who had
learnt the ropes of film art
and box office success from
his elder brother B R Chopra
whom he regarded as his
father figure and Guru. BR
gave Yash his directorial debut
film in the sensitive “Dhool
ka Phool” (1989) and the
multi starrer “Waqt” which
still remains a landmark in
Hindi films. Since then Yash
not only went on to direct
23 films (including “Jab Tak
Hai Jaan” released after his
demise, but also produced
54 films. His laurels include
the Padma Bhushan and the
Honorary Life membership
of BAFTA. On his 80th
birthday
in
September,
Shahrukh Khan interviewed
him for TV channels. Some
of his biggest hits are “Waqt”,
“Deewar” “Darr”, “Chandni”,”
“Kabhie Kabhie”, Dil To Pagal
Hai”, “Dilwale Dulhania Le
Jayenge”,
“Mohabbatein”,
“Dhoom” and thejust released
“Jab Tak Hai Jaan”. “Lamhe”
will
remain
unsurpassed
conceptually and otherwise in
film scripting, dialogues and
direction. He also gave breaks
to several actors and directors
including Anushka Sharma,
Ranveer Singh, Arjun Kapoor
and Pariniti Chopra.
Mohan Siroya
IFFI provides platform for authors
of books on Indian cinema
I
FFI
Director
Shankar Mohan
feels that there
is need to record
the
history
of
Indian cinema in
a meaningful way
during its centenary
year and more
people should be
encouraged to write books on various facets.
He was speaking after releasing the first volume of the
book ‘Golden Sojourn – Bollywood Wonderland’ by senior
film critic Mohan Siroya. Mr Mohan said that the Festival had
always provided a platform to encourage writers who record
the history of Indian cinema in their own way. He said this also
lent credence to the author.
Siroya presented the first volume, a shorter version containing
all articles written by him about IFFI, and a CD containing the
volume as an e-book.The author, who is in his late seventies, said
he had been writing on cinema for several decades and the book
was a collection of some of his articles and reviews.
06
IFFI | November 25, 2012
Sub-titling a problem for marketing
films, say young filmmakers
N
andan Saxena and
Kavita Bahl, who have
made the film ‘Cotton
for my shroud’ have
justified the use of the word
genocide for the death of cotton
farmers in India.
‘We are using the very
strong word genocide, with full
responsibility; the implications
of what we say will travel across
frontiers of geography and
frontiers of our own ideological
device. When we were growing
up as students, we were told that
India lives in its villages and it
is the ‘Land of Farmers’. And
when we took up journalism as
a profession, we decided that we
will tell the stories we believe
in and not the ones which our
editors ask us to tell.
‘Cotton for My Shroud’ is
in fact a very disturbing film to
watch, they said. ‘It has received
the National Award for the
best investigative film and has
travelled across many countries
and festivals by now. It is a film
which reflects what is wrong
with agricultural policies, and
how the government has allowed
Monsanto to take over the
seed supply. “In fact Monsanto
will now represent the farmers
actively in the corridors of
Parliament to safeguard the
interests of the farmers,” they
remarked satirically.
Talking about her film
‘Manjadikuru’ in Malayalam,
Anjali Menon said it is made
totally from a child’s perspective.
“The name of my film when
translated means Red seeds. It
is a feature film that is set in the
1980s but created from a modern
perspective. The film talks about
16 days from a child protagonist’s
perspective and takes the story
forward from there. The story
starts when the family comes
together to attend the funeral of
the patriarch of the family. In
these 16 days we see the gradual
disintegration and coming up of
age of the main characters. Many
years later while reflecting on the
gradual progression, the 16 days
becomes very significant for the
main characters and their entire
families. The only problem I
faced was during distribution.”
Her distributor was not happy
that the film should have English
subtitles, she noted.
PRESS CONFERENCE
In a world where few read,
Films are incredibly important
B
ooks written by
various authors
address the
problem of the
slow death of society by
the decrease in reading.
Do film-makers envisage
a role for their passion in
a world where fewer and
fewer people read?
Ursula Meier, a French
- Swiss film director
whose film Sister is in
competition at the 43rd
IFFI, thinks there's no
connection between the
two,since the language of
cinema is different from
the language of literature,
Artur Wiecek "Baron" and
Witold Beres, Polish film
directors, screenwriters,
and producers who have
collaborated on several
films under their flagship
Beres & Baron Media
Productions also publish
books under the imprint
of their NGO,"The
World Makes Sense
Foundation".
Both cheerfully
brandish bookmarks
bearing the legend, We
make sense and movies!"
as Wiecek runs down the
aisle with a bookmark for
this reporter and Beres
exclaims,"Old fashioned!
We are old fashioned,
We print books the old
fashioned way, books
made of paper!"
Wiecek's new film
All Matthew's Women
screened in IFFI's A
Cut Above" segment. is
witty and original and
revolves around a gallant
conqueror of
hearts, a carpenter
named Mateusz Klos and
Beres/Baron's delightful
response is a fitting
affirmation of South
African writer/director /
actor Craig Freimond's
averment that "cinema
is incredibly important
because the visual
medium,especially TV is
filled with rubbish and
nonsense content like
reality TV shows. Films
must have something to
say and stories must have
depth."
Freimond's film'
Material" is about a young
Muslim who is expected
to take over his father's
shop in Johannesburg
when he discovers he has
a real talent for comedy.
He said SA's Muslim
community has "retreated
inwards" of late and hoped
India and South Africa
would "extend ties beyond
trade to film and float
co-productions given
the potential for huge
audiences" in the Indian
diaspora in Rainbow
Country (as SA likes to be
known)
Lucy Mulloy,
screenwriter and film
director from New
York, who spent years in
Havana researching for
her debut feature Una
Noche (IC) about three
young Cubans who try
to flee the Commie El
Dorado concurred that
film-makers "have a lot to
convey."
The consensus in the
panel was that there were
new ways of reading in
a techo-driven world
even as young people
preferred playing Video
Games, listening to their
Ipods, talking on cell
phones,and chatting on
Skype and adults lolled
before the idiot box.All the
more reason why film is
"incredibly important."
Ronita Torcato
Ashim Paul said his film ‘Birds
of Passage’ was about relationships.
“There are three different
characters in the film who form
the integral part of the storyline.
The title of the film is about a
character in search of something
that nobody knows. He is a very
different type of character.”
Ashim, who is from the
Satyajit Ray Film and Television
Institute of India, said he had
tried to give his best though
it was a student film. “Film
Festivals like IFFI bring out the
best of student films and gives an
opportunity to young filmmakers
to showcase their talent across
the world cinema platform.”
He said his film had gone to
various international festivals and
was steadily creating its market.
Agreeing with Anjali, he said
“We find sub-titling problems
abroad too. When I was in Paris
I had made a French film titled
‘Kids of Algens’ but from the
selling point of view I could not
sub-title it for the festival circuit.”
Shaheen Raaj
Keep pace with emerging
digital technologies, Shankar
Mohan tells film delegates
I
FFI Director Shankar Mohan has said that digital
technology is fast overtaking all forms of media all
over the world and cinema is no exception.
He noted that even at the present Festival, the
ratio between digital and 35 mm is 60:40 as against
50:50 last year. He added that
digital technology is comparatively
simple and cheap.
Furthermore, he noted that
digital films cannot be screened
without KDM and passwords,
which takes care of security and
misuse of the film, unlike 35 mm
polyester films.
Shankar Mohan
He was speaking after
inaugurating the digital technology workshop
organized by the Indian Documentary Producers
Association and sponsored by
Canon India Pvt Ltd. at Black
Box, Kala Academy. This threeday workshop will continue till 26
November.
Mr Mohan welcomed the team
members of Canon India Pvt. Ltd
and expressed his gratitude to
IDPA President Mike Pandey for Mike Pandey
organizing the workshop.
Mr Pandey said: “The future belongs to
technology and innovation, which can help creative
filmmakers to push the boundaries of imagination.
Therefore, workshops like this which showcase the
latest digital technology play a very crucial role.
Anoop Jotwani, cinematographer WICA who
was the speaker on the first day of the workshop,
said there was need to work out full details of the
workflow with a production house before starting
any project.
Five digital films shot by a Canon camera were
shown on the first day of the workshop. Gaurav
Markan, National Business Manager who is the
leader of the team, said various models of Canon
camera had been displayed in the INOX Complex
for the information of delegates.
Edited by: B B Nagpal on behalf of IFFI Secretariat, Ministry of Information & Broadcasting, New Delhi.
Hindi Editor: Dr. Rajeev Shrivastav, Co-ordinator: Rizwan Ahamd, Deputy Director
Photos: Photo Division
Printed at: Impressions, Belgaum