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The number of visitors to our website has been quite large and the response to our e-cineindia is encouraging. Our thanks to those who have sent their feedbacks.
This is our second issue. We welcome reviews on films, particularly on Indian films from our learned critics for publishing in our E Bulletin. Efforts are on to make it more meaningful and informative. Soliciting your co-operation.
Yours truly
H. N. Narahari Rao
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Osian's-Cinefan New Delhi 2007
(A report by Mr. Klaus Eder , Courtesy FIPRESCI) |
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Aruna Vasudev |
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Nine years ago, Aruna Vasudev started the Cinefan Festival in New Delhi as a small event, just to show some of the films on which she published criticism in Cinemaya, the 1988-established English-language magazine on Asian cinema (which gathered, and still gathers, the best critics writing, in a variety of countries, on Asian cinema — required reading for everybody seriously interested in the cinemas of the continent). |
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CineFan # 1, 1999 |
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A festival on Asian cinema? It may sound like a crazy idea, but it worked. Over the years, Cinefan became bigger and changed to bigger venues for a larger public. In 2004, the festival was taken over by Osian's, a Bombay-based publishing house (mainly for books on art), founded in 2000 and headed by Neville Tuli. He took the organizational burden (of both Cinemaya and Cinefan) from Aruna Vasudev's shoulders and made it possible for her to focus, as head and heart of magazine and festival, on films, their selection, presentation, and discussion.
The festival always had an interest in Arab films, and this year it changed its title to "Festival of Asian & Arab Cinema" — a fruitful extension and confrontation. In its 9th edition, it worked as a wonderful showcase of both cinemas, welcomed by an open-minded local public and attended by numerous foreign guests, filmmakers, and critics. The main competition was dedicated to Asian and Arab films; other competitions took care of first features and of recent Indian films. A special series presented contemporary Japanese films. The screenings were accompanied by a series of panels and conferences, among others on the origins of cinema in Asia. For young filmmakers from the region, a "Talent Campus" was organized (supported by the Berlinale Talent Campus). These additional activities underlined Aruna Vasudev's conception that it is not enough to show films, but that it is necessary to talk about cinema and to recreate an atmosphere of discussion. Cinefan #9 was not only a showcase; it was a meeting point of a variety of cinemas, conceptions, and ideas.
Not forgetting film history. Festivals normally don't care much about it (with the exception of, maybe, a retrospective). Cinefan does. A tribute to Kenji Mizoguchi was offered, enabling a young generation of filmgoers to see some of his films on a big screen (and the screenings were well attended). And what a pleasure it was to discover, or re-discover, Youssef Chahine's Cairo Station (Bab El Hadid, Egypt), Amit and Sombhu Mitra's A Night in the City (Jagte Raho, India), both from 1958, or The Letter with Feathers (Ji mao xin, by Hui Shi, China, 1954) – all of them winners of the festivals of Cannes, Venice, Karlovy Vary, and Locarno of the 1950s.
If you need proof of how attractive Asian and Arab cinemas can be, attend Osian's-Cinefan. (k.e.)
The FIPRESCI Prize went to Ploy by Thai director Pen-ek Ratanaruang.
Details: Osian's Cinefan, July 20-29, 2007, www.cinemaya.net/Cinefan.asp
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Indian Films at Osian’s Cine Fan Delhi 2007
There were nine films in the Indian competition section:
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Bhairavi / Hindi/ 2006/ 120 mins / Digital / by Suhail Tatari
( Source: muraliraman@gmail.com)
Footsteps (Podokkhep) / Bengali / 2006 / 93 mins / Suman Ghosh
(Source: banglatalkies@gmail.com)
Frozen / Hindi / 2007/ BW / 107 mins / Shivajee Chandrabhushan
(Source: info@seagullmedia.com)
Manorama Six Feet Under / Hindi / 2007 / 139 mins / Navdeep Singh
(Source: ketan@shemaroo.com)
OurTime(Kaal)/Bengali / 2007 / 120 mins / Bappaditya Bandopadhyaya
(Source: bappadityabandopadhyay@gmail.com)
Paruthiveeran / Tamil / 2007 / 139 mins / Ameer Sultan
(Source: contactk@gmail.com)
Signature (Kayyoppu)/ Malayalam / 2006/ 97 mins / Ranjith
(Source: capitoltheatre@gmail.com)
The ImposterWho wasn’t (Mithya) / Hindi/ 2007/ 107mins/ Rajat Kapoor
(Source: planman@vsnl.com)
Zero Zone (Shoonya) / Hindi/ 2006 / 100 mins / Arindam Mitra
(Source: arindam@mirrorfilms.in )
BEST FILM AWARD
PARUTHIVEERAN by Ameer Sultan
for its strong narrative that allows reality to be played out cinematically, rendered with visual energy to connect with a wider audience. for more details refer to: www.osians.com
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CMS Vatavaran – bringing environment & wildlife filmmaking to limelight
By Utpal Borpujari |
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There are film festivals and there are film festivals. And in India, in the last few years, there has been a mushrooming of festivals, particularly of those showcasing short films and documentaries. The advent of digital media has made it possible to organize film festivals even in places where till a few years ago people would not get to watch anything beyond what was available in the local theatre or on the television sets.
But among all these festivals, CMS VATAVARAN, organized by the Centre for Media Studies, holds a special position, as it is India’s first and now the biggest festival that focuses on environment and wildlife films, the latter probably the most difficult genre of filmmaking that tests the maker’s patience, perseverance and luck. This September saw the 4 th edition of the festival take over the conscience of Delhi’s environmentally-conscious film lovers for four days, as 72 pre-nominated films from within India and all over the world left the viewers shaken and stirred.
With 22 awards in the Indian competition section and eight in the international section, there was a lot in the festival to attract both veteran and newbie filmmakers, and the films screened did leave a solid impact on the viewer.
The film that finally towered above all in the Indian category was Senani Hegde’s “Wild Dog Diaries” that walked away with the Best of Festival award. The jury, chaired by Dadasaheb Phalke Award winner Shyam Benegal, hailed the film as “an extra strong film that charts out the life of wild dog family told with sensitivity in the forest of Southern Western Ghats, and the way the filmmaker won the trust of the dog families where they did not feel threatened. The film shows deep respect not only for the animals but also for local tribal community who have lived ‘Cheek by jaw’ with wildlife over
the many centuries”. A special mention was made for the editing of the film, which got a trophy, a citation and Rs 1.50 lakh apart from the award for the best storytelling.
The Delhi Chief Minister Award in the Environment Conservation Category went to to “Earth Calling - Episode Coorg” by Rita Banerji and Shilpi Sharma, who got an award money of Rs 1,00,000. ”Tiger -The Death Chronicles" by Krishnendu Bose won the coveted Rs one lakh award in the Wildlife Conservation Category, while the awards for technical excellence went to Suresh Elamon's “Angels in Tigerland” for best cinematography and Umesh Aggarwal's “The Whistle Blowers” for best editing.
Introduction of International Competitive Category for honoring outstanding documentaries on natural world or conservation theme was a new initiative of this year’s festival. "The Queen of Trees" by director Mark Deeble and Victoria Stone bagged Best of the Festival.
An added attraction in this year’s festival was a Panorama of climate change films which included “Happy Feet”, “The Day after Tomorrow” and “Inconvenient Truth”. The summit on climate
change, a seminar on state of rivers in India, panel discussions on conservation and livelihoods, films for campaign and advocacy, framing policies for wildlife filming main were the other highlights of the festival. Five workshops on wildlife filming, story telling, nature photography, animation and eco-friendly practices were integral parts of the festival.
Awards of Rs 25,000 each were given for the Forum of Environmental Journalists of India (FEJI) and CMS Academy Award for Young Environmental Journalist (Print and Broadcast) to Amar Jyoti Bora from Assam and Bahar Dutt from news channel CNN IBN respectively. Incidentally, the CMS VATAVARAN festival is an initiative of CMS supported by the Ministry of Environment and Forests (MoEF).
And yes, the festival’s highest honour, the Canara Bank CMS UNEP Prithvi Ratna Award, given to an eminent filmmaker for outstanding dedication to the cause of environment and wildlife filming, this year was conferred upon Shekhar Dattatri.
(For the complete list of award winners, visit www.cmsvatavaran.org)
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38 IFFI- Goa- News |
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INDIAN PANORAMA 2007 |
List of selected Feature Films for screening at International Film Festival at Goa in November2007. |
OPENING FILM – ORE KADAL (MALAYALAM) |
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DIRECTOR |
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LANGUAGE |
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1 |
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NAALU PENNUNGAL |
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Adoor Gopalakrishnan |
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Malayalam |
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2 |
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ORE KADAL |
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Shyama Prasad |
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Malayalam |
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3 |
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RATRI MAZHA |
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Lenin Rajendran |
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Malayalam |
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4 |
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EKTI NADIR GALPO |
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Samir Chanda |
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Bengali |
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5 |
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DHARM |
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Bhavna Talwar |
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Hindi |
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6 |
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KAYYOPPU |
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Renjith |
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Malayalam |
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7 |
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JAATINGAA ITYAADI |
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Sanjib Sabhapandit |
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Assamese |
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8 |
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TINGYA |
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Mangesh Hadawale |
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Marathi |
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9 |
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PERIYAR |
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Gnana Rajasekaran |
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Tamil |
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10 |
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JAARA BRISHTITE BHIJICHILO |
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Anjan Das |
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Bengali |
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11 |
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KADA BELADINGALU |
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B.S. Lingadevaru |
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Kannada |
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12 |
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THANIYE |
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Babu Thiruvalla |
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Malayalam |
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13 |
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MAI BAAP |
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Gajendra Ahire |
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Marathi |
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14 |
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MOGGINA JADE |
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P.R. Ramdas Naidu |
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Kannada |
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15 |
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DAATU |
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K. Shivarudraiah |
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Kannada |
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16 |
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GAFLA |
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Sameer Hanchate |
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Hindi |
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17 |
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AMMUVAGIYA NAAN |
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Padma Magan |
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Tamil |
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18 |
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AEVDHE SE AABHAAL |
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Bipin Nadkarni |
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Marathi |
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19 |
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YENNING AMADI LIKIA |
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Makhonmani Mongsaba |
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Manipuri |
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20 |
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AMI, IYASIN AR AMAR MADHUBALA
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Buddhadeb Dasgupta |
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Bengali |
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21 |
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KAALCHAKRA |
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Vishal Bhandari |
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Marathi |
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Two feature films recommended for the Competition Section for Asian, African and Latin American countries of the 38 th International Film Festival of India are: |
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Samir Chanda |
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Bengali |
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2 |
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RATRI MAZHA |
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Lenin Rajendran |
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Malayalam |
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INDIAN PANORAMA 2007
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List of selected Non-feature Films |
OPENING FILM – BAGHER BACHCHA (BENGALI) |
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DIRECTOR |
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LANGUAGE |
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1 |
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Rajashree Bhagya Chardoa of Manipur |
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Aribam Syam Sharma |
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English |
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2 |
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Naushad Ali – The Melody Continues |
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Buddhadeb Dasgupta |
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Hindi |
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3 |
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Pandit Ramnarayan |
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V. Packriswamy |
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Hindi |
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4 |
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Bagher Bachcha |
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Bisnu Deb Halder |
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Bengali |
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5 |
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Hope Dies Last In War |
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Supriyo Sen |
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English |
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6 |
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Whose Land Is It Anyway? |
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Ladly Mukhopadhyay |
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Hindi |
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7 |
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Masti Bhara Hai Sama |
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Ashok Rane |
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Hindi |
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8 |
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M-Tyude Kumaraneloorke Kulangal |
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M.A. Rehman |
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Malayalam |
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9 |
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Poomaram |
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Vipin Vijay |
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Malayalam |
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10 |
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Joy Ride |
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Manisha Issrani Misra |
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Bengali |
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11 |
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The Dance Of The Enchantress |
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Adoor Gopalakrishnan |
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Hindi |
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12 |
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Harvilele Indradhansh |
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Dhiraj Meshram |
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Malayalam |
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13 |
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Ngaihak Lambida |
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Haobam Paban Kumar |
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Malayalam |
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14 |
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Nokpokliba |
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Meren Imchen |
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English |
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15 |
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Mubarak Begum |
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Bipin Choubal |
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Hindi |
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Review:
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Mission in the Desert: "Desert Dream" |
By H.N.Narahari Rao |
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The film Desert Dream (Hyazgar, 2007/ South Korea), directed by Zhang Lu, was in the main competition section at the Osian’s-Cinefan Festival of Asian & Arab Cinema. This film impressed me for various reasons, principally its visuals, explicitly portraying the life in stark reality of Hungai, who lives in a desert. A vast landscape of desert totally isolated from the outside world harbors Hungai's only hut where he lives with his wife and child. The only other companions are his cattle. This being a border area between Mongolia and China, quite frequently we see the movement of army tanks patrolling the area.
Hungai has a mission in life: he faithfully plants trees in the desert, procuring seedlings from a vendor who runs the only shop in that area, also supplying various other provisions. He is so obsessed with his work, even his family gets disillusioned with him. His wife leaves the place, taking her daughter to a faraway city to get treatment for her illness. Poor Hungai, now lonely, drowns himself in drinks. The sudden arrival of a Korean refugee woman, Choi Soonhee, with her son, in search of a shelter, enlivens the situation to a great extent, even though they find it difficult to communicate effectively because they do not speak the same language. A strange relationship develops among the three. Both the mother and son willingly help Hungai in planting trees and other routine chores. The boy, who has lost his father, comes closer and closer to Hungai and one night he shifts from his bed to sleep at Hungai's side to find much needed security in his arms. Strangely, the son finds this village a place where he would like to stay, but his mother is totally against it. She wants to move out at the earliest opportunity. The visuals that capture the moods of these three characters are very well shot. The camera takes a long shot, a conversation is taking place, and it pans around slowly almost from one end to the other, capturing the vast landscape of desert, on the one side Choi Sonhee, and on the other Hungai and the boy standing. This particular shot reminds us of the Hungarian filmmaker Miklos Jancso who successfully adopted this style in his films. Justifiably the film is snail-paced, reminiscent of Bresson, quite powerful in content.
While the boy finds solace under Hungai, Choi flatly refuses his sexual advances, fearing that she may have to stay back in the desert in case she falls in love with him. While Hungai is away to visit his wife and daughter, she satisfies her sexual need with a young Mongolian soldier. When her son sees her making love, he rushes to bring the gun to drive the soldier away and to protect the family in Hungai's absence. While the boy identifies himself with the surroundings, his mother makes her bid to flee with a Korean film crew but fails. Finally she takes the boy away and moves to a highway which points to her destination. The only one left behind is poor Hungai.
This is a movie that has its originality and a style that suits the content and documents the human emotions of a person living in a totally uninhabited desert.
H.N.Narahari Rao
Desert Dream by ZHANG LU won the Best Film Award at 9 Osian Cinefan Film Festival Delhi 2007 for the conviction with which Zhang Lu depicts the contemporary crisis of our time. He has found the right cinematic expression to tackle a theme of such great importance. |
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River to River. Florence Indian Film Festival , under the direction of Selvaggia Velo, will have its seventh edition in Florence, Italy, from December 7 th to 13 th , 2007. |
Once again, the event will be supported by the Ministry of the Cultural Heritage - Cinema Department, Ente Cassa di Risparmio di Firenze, Banca Toscana, Regional Council of Tuscany, Quartiere 1, India Tourism Office of Milan, sponsored by Apt Firenze, Hotel Roma, Instyle and Lisa Corti Firenze, with the assistance of Mediateca Regionale Toscana Film Commission, and both The Florentine and www.1takemedia.com as media partners.
The Festival will offer viewings of the latest independent Indian films, with a wide range of feature films, short films and documentaries, and the latest works on India by international directors.
Actors, directors and producers will be there to meet the press and speak of their films with the audience.
One film from each category will be voted by the audience to win the River to River Digichannel Audience Award: an extract from the film can be viewed in streaming mode at www.digichannel.net all through 2008.
The schedule includes a retrospective on Bimal Roy (1909-1966), one of the greatest Indian film directors of the past, who is often compared to Italian Neorealist film directors for his stories and subjects. Thanks to Mr. Roy’s family, three of his masterpieces will be screened, in collaboration with the National Film Archive of India and the Directorate of Film Festivals: Do Bigha Zamin (Two Acres of Land) of 1953, reminiscent of De Sica’s Ladri di biciclette; Devdas (1955), the remake of which by Sanjay Leela Bhansali was nominated for an Oscar in 2003; and the heart-breaking Bandini of 1963.
In order to give a full portrait of Bimal Roy, the Festival will screen, for the first time in Europe, the documentary Remembering Bimal Roy by the director’s son, Joy Roy.
As usual, between one film and the next, do not miss the food tastings offered by the Indian Restaurant of Fiesole, a heaven of Maharaja cuisine.
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This year, the Festival has started working with new partners in events that will go on all through Autumn 2007: |
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within the framework of the Festa del Cinema di Roma (18-27 October), a side event will be organised by Tad Art Events. For the occasion, Selvaggia Velo and Francesca Micheli of River to River. Florence Indian Film Festival will offer a selection of Indian short films, which will be screened in Rome on October 23 rd on a bus fitted out in Indian style and at the Apollo 11 cinema, which will also host a meeting on the Indian movie industry;
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during the Festival della Creatività of Florence (25-28 October), four short films from the 2006 River to River. Florence Indian Film Festival will be screened on Saturday October 17 th at the Teatrino Lorenese at Fortezza da Basso.
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For informations:
River to River. Florence Indian Film Festival
Piazza Santo Spirito, 1
50125 Florence - Italy
ph. +39 055 286929
fax +39 055 284983
pressoffice@rivertoriver.it
www.rivertoriver.it
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