Wednesday, November 19, 2014


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GANGS OF WASSEYPUR


Exclusive New York City Engagement Begins Friday, January 16
at the 
Film Society of Lincoln Center

Gangs of Wasseypur, presented by Adi Shankar, is Anurag Kashyap’s extraordinary blood-and-bullets-fueled five-plus hour crime saga spanning 70 years in the lives—and spectacular deaths—of two mafia-like families fighting for control of the slums of Wasseypur in coal-rich eastern India, inspired by the real-life exploits of local gangs. Kashyap and his producing partner Guneet Monga also produced this year’s foreign-language hit The Lunchbox. Here, the director who’s been dubbed “the godfather of modern Indian independent cinema” offers his own epic to rival The Godfather saga and Sergio Leone’s Once Upon a Time in America. A selection of the Sundance Film Festival and Cannes, Gangs of Wasseypur will have its exclusive New York City engagement at the Film Society beginning Friday, January 16.   
 
The brand-new U.S. trailer for the film is available exclusively here:
http://youtu.be/SWTXVr8L0eE

Manoj Bajpayee (of the Kashyap-scripted gangster epic Satya) throws himself into the role of Sardar Khan, the revenge-driven patriarch wronged by Ramadhir Singh (Tigmanshu Dhulia, the renowned director in a rare acting role), a mine owner turned corrupt politician. Shot with the flair of Tarantino and the scope of Scorsese, the enthralling Gangs of Wasseypur doubles as a chronicle of social and historical tides in 20th-century India. Called “a sprawling, giddy, hyperviolent ride” by Sight & Sound, Kashyap’s opus features plenty of sly humor, including Dhulia’s hilarious anti-Bollywood tirades. A Cinelicious Pics release.
 
Director Anurag Kashyap, Producer Guneet Monga, and Executive Producer Adi Shankar are available for phone interviews. Contact John Wildman, jwildman@filmlinc.com, for more information.

“A dizzying explosion of an Indian gangster film.” – Deborah Young, The Hollywood Reporter

“Belongs alongside the great crime sagas of the cinema: The Godfather Trilogy, City of God, Bertolucci's 1900, Heimat and Election.” – Kurt Halfyard, Twitchfilm

Director: Anurag Kashyap; Producer: Viacom 18 Motion Pictures, Guneet Monga, Sunil Bohra, Anurag Kashyap; Associate Producer: Ajay G Rai; Written by: Zeishan Quadri, Akhilesh, Sachin Ladia, Anurag Kashyap; Story: Zeishan Quadri; Cinematography: Rajeev Ravi; Music: Sneha Khanwalker; Editor: Shweta Venkat Matthew; Sound Design: Kunal Sharma
 

320 minutes / DCP / Color / Stereo / Not Rated / 2012
In Hindi with English Subtitles

 
For information or access to a screener or a link to view the film,
please contact John Wildman, jwildman@filmlinc.com

Press Notes and Stills available at:
www.filmlinc.com/press
password: pressfslc


FILM SOCIETY OF LINCOLN CENTER
Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize established and emerging filmmakers, support important new work, and to enhance the awareness, accessibility, and understanding of the moving image. The Film Society produces the renowned New York Film Festival, a curated selection of the year’s most significant new film work, and presents or collaborates on other annual New York City festivals including Dance on Camera, Film Comment Selects, Human Rights Watch Film Festival, New Directors/New Films, NewFest, New York African Film Festival, New York Asian Film Festival, New York Jewish Film Festival, Open Roads: New Italian Cinema and Rendez-Vous with French Cinema. In addition to publishing the award-winning Film Comment magazine, the Film Society recognizes an artist's unique achievement in film with the prestigious Chaplin Award, whose 2015 recipient is Robert Redford. The Film Society’s state-of-the-art Walter Reade Theater and the Elinor Bunin Munroe Film Center, located at Lincoln Center, provide a home for year-round programs and the New York City film community.

The Film Society receives generous, year-round support from Royal Bank of Canada, Jaeger-LeCoultre, American Airlines, The New York TimesHBO, Stella Artois, The Kobal Collection, Variety, Trump International Hotel and Tower, the National Endowment for the Arts, and the New York State Council on the Arts. 

For more information, visit www.filmlinc.com, follow @filmlinc on Twitter and download the FREE Film Society app, now available for iOS (iPhone and iPad) and Android devices.

 


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Wednesday, October 29, 2014

REFLECTIONS FROM THE TOKYO FILM FESTIVAL

Daihachi Yoshida’s “Pale Moon”

Everything at the Tokyo International Film Festival (TIFF) scales vast spaces, dizzying heights and awesome high tech. It is set in the sprawling upbeat Roppongi Hills complex which embraces a host of public venues such as restaurants, shops, relaxation areas and a splendid museum. The 2014 TIFF takes place in the Mori Building West which houses several theatres, the festival’s office rooms as well as meeting places such as the Press computer room, the festival video room to catch films one has missed, and banquet rooms for events and parties. This is on the 49th floor (the building has 51 floors in all).  TIFF is supported by the Japanese government in conjunction with the country’s leading conglomerates, the latter input accounting for its large-scale organization.

The steady drizzle on opening night (October 23) did not deter the festival’s glitz  as guests from around Asia, Europe and Hollywood traipsed damp the red carpet alongside Japan’s Prime Minister, Her Imperial Highness Princess Takamado and leading State politicians.

The august audience then watched the world premiere of Don Hall and Chris Williams' animation “Big Hero 6”, released locally by Disney. With the story set in San Fransokyo, a fictional combination of Tokyo and San Francisco, and the festival's emphasis on animation this year, the film provided the ideal start to the coming ten days.

The lavish party that followed saw glimpses of several friends of Indian cinema, such as Christian Jeune  from Cannes, Cameron Bailey from Toronto (on jury duty),

Kim Dong-ho, Honorary Director of the Busan film festival, Nashen Moodley – Sydney Film Festival director and also Asia/Africa programmer for Dubai film festival, the Japanese film critic Tadao Sato, among many others.

On the first day press conference programming director Yoshi Yatabe said that all 15 feature films competing this year convey portrayals of “people with their backs to the wall”, people who are cornered and wondering "how they are going to live tomorrow."  

The six member International jury seconded the choice of films. Chaired by American writer, director, producer, actor, musician, cartoonist James Gunn, the jury comprised Korea-born filmmaker John H. Lee (“A Moment to Remember”, 2004), Australian director Robert Luketic (forthcoming female-led “Expendabelles”), Singapore's Eric Khoo (Cannes 2008 Palme d'Or contender, “My Magic”), Japanese comedian/director Hiroshi Shinagawa (“One Third”, 2013), and veteran casting director Debbie McWilliams (“Skyfall”, 2012). At their media meet, the jury were both articulate and open about their impassioned crusading of cinema that is truthful and enlightening, the kind that should form the core of a film festival.

Chairperson Gunn, referring to this year’s TIFF, said, "It's great to have these pockets of real culture ... It's important to have events that acknowledge films as something other than commerce, so that it doesn't become a world where movies are made purely to make a lot of money and don't have any heart."

Director Luketic added that he viewed cinema as a “beacon of hope that illuminates the global human condition."  Considering the world’s difficult and challenging times, he said, “Films that can offer me hope and a sense that we're all kind of in this together -- that's sort of what I would look for, something truthful in that regard."

The festival announced the inauguration of the Samurai Award, to be presented to veteran filmmakers who “continue to create ground-breaking films that carve out a path to a new era.” The first recipients are Japanese director Takeshi Kitano and US director Tim Burton, whose “Big Eyes” was screened at the festival. Other sections announced include World Focus (films screened at major fests, but with no Japanese distribution), Asian Future (films by new Asian directors, including Japan and the Middle East), Japanese Cinema Splash (Japanese indie films) and Special Screenings (commercial films to be released in Japan over the last quarter of the year). Other key sections cover the work of animator Hideaki Anno, films from the New York Museum of Modern Art  (MoMA) collection, and new Thai films presented by the Japan Foundation Asian Center.

A luncheon was hosted the first day by the Japan Foundation’s Asia Center allying itself with the cinema industry in Asia and its individual festivals to promote their combined film culture. The same evening saw The Japan Foundation celebrate its presentation of Thai films in this year’s Tokyo festival and also its intention to work closely with Asia’s festivals to extend the strength of Asian films. Curiously, in the list of countries named or aimed for in this laudable collaboration, India was not mentioned even once. It would appear that the Near East remains somewhat outside the orbit of cinematic goals being heralded in the Far East – a situation that surely needs to be addressed and corrected.

The handful of films, mostly in competition, were steeped in the dire crises, often self created that individuals face amid the forces that shape our times. The much touted sole Japanese competition film, Daihachi Yoshida’s “Pale Moon” featured top star Rei Miyazawa as a disgruntled woman caught is a dull marriage.  Starting as a banking clerk, her swift promotions lead to her embezzling funds to free herself. The film ends on an ambiguous note, taking no position on her motivations.

Another ,low-key Japanese film, Takashi Nishihara’s debut work “Starting Over”, unfolded a poignant story of two schoolgirls drawn whose inseparable closeness develops into a lesbian relationship, largely because their home lives shut them out any sign of love or understanding.

The Spanish film “Flowers” directed by Jon GaraƱo and Jose Maria Goenaga, takes the onslaught of menopause into a surreal longing for love which changes the lives of three women stemming from one of them mysteriously receiving a bouquet of flowers every week without a clue of who the sender is.

From the Philippines, “Above The Clouds” directed by Pepe Diokno, starts with devastating scenes of a major flood that took hundreds of lives, and then zeroes  into a 15-year-old orphaned by it. He is sent to live with his eccentric, grubby grandfather. His initial grief and resentment finally gives way to an acceptance that life has something to give even when it denies you everything at one stroke.

Courtesy: http://thecitizen.in/ - India's first independent on-line daily which was launched on January 27, 2014

Tuesday, October 28, 2014

Aamir Khan gets superstar reception at the Tokyo International Film Festival

 

AAmir Khan and director Vijay Krishna Acharya )check name) of Dhoom 3

Aamir Khan and director Vijay (Victor) Krishna Acharya of Dhoom 3

October 29, two days prior to the 27th Tokyo International Film Festival's closing its ten day run, was the day for Dhoom 3 to be screened for the first time in Japan as an official selection at the festival. Aamir Khan was in town, along with the director of the film, Vijay (Victor) Krishna Acharya,  for the film's press conference followed by the screening. Both events were eagerly awaited by the local film audience and were touched with high excitement and anticipation. Both were packed to the brim with an almost 100 percent Japanese audience. Dhoom 3  is releasing in Japan on December 5, 2014 in 100 cinemas, the highest ever for an Indian film.

Aamir Khan has become a well-known name after his film 3 Idiots became a huge hit when it was released in Japan in June 2013.  As a matter of fact, because of recent Indian hits in the Japanese film market, there is an upward curve of interest in Indian cinema in Japan right now.  

The press conference was packed with around 100 Japanese media from TV and print attending.  The questions came  fast and furious and many had to remain disappointed for lack of time. Then, in the very same Press room, a brand new BMW motor-cycle was brought in for a photo session with both the famous actor and his director.

At the full-house public screening of the film, the audience applauded the two again – some gave him bouquets, others a token of appreciation, making it clear that in Japan, Aamir Khan is now a rage and a star.