Monday, December 10, 2012
Saturday, November 3, 2012
The Global Film Initiative
FOR IMMEDIATE RELEASE
CALL FOR APPLICATIONS
Winter 2013 Feature Film Production Grants
Application deadline: January 15, 2013
San Francisco, CA - November 1, 2012 - In its continuing effort to promote original storytelling by individuals from around the world, the Global Film Initiative is pleased to announce a Call for Applications for the Winter 2013 cycle of its narrative feature film production grants program.
Applications are accepted for feature-length, narrative film projects in all stages of production by directors from eligible nations of Africa, Asia, the Caribbean, Central & Eastern Europe, Latin America, the Middle East and Oceania. Applications may be submitted from November 15, 2012 through January 15, 2013, and granting decisions are announced in April 2013.*
APPLICATION DEADLINE: January 15, 2013
*For Applications, Eligibility Requirements and Granting Guidelines, please visit: www.globalfilm.org/granting.htm
About the Granting Program
The Global Film Initiative's Granting Program awards fifteen to twenty grants per year, of up to $10,000 each, to filmmakers whose work exhibits artistic excellence, authentic self-representation and accomplished storytelling. Funds received from grants are used to support completion of film production and to subsidize post-production costs such as laboratory and sound mixing fees, and access to advanced editing systems.
Since the Initiative's founding in 2002, the Granting Program has awarded 132 grants to filmmakers worldwide. Grant recipients include:
- BAD HAIR (PELO MALO), dir. Mariana Rondón, VenezuelaInternational Producers Meeting selection of the 2012 Cartagena International Film Festival; 2011 Ibermedia Fund. GFI grant awarded in 2012.
- BLESSED BENEFIT (INSHALLA I'STAFADET), dir. Mahmoud al Massad, JordanL'Atelier selection of the 2012 Cannes Cinéfondation; Arte Award at the 2011 Dubai FIlm Connection; 2011 Rawi Middle East Screenwriters Lab selection; 2011 Abu Dhabi Film Commission Shasha Grant. GFI honorable mention awarded in 2012.
- MISS LOVELY, dir. Ashim Ahluwalia, IndiaOfficial Selection of the 2012 Mumbai Film Festival, 2012 Dharamshala Film Festival, 2012 Melbourne International Film Festival, 2012 South Asian International Film Festival, 2012 Toronto International Film Festival and 2012 Cannes Film Festival (Un Certain Regard, world premiere). GFI grant awarded in 2010.
- PORT FATHER (PUERTO PADRE), dir. Gustavo Fallas Vargas, Costa Rica2012 Cinergia Fund; 2011 Ibermedia Fund; Cinepolis Award at the 2009 Morelia Lab. GFI honorable mention awarded in 2012.
- WILDLIFE (KALAYAAN), dir. Adolfo Alix Jr., PhilippinesNETPAC Award for Best Asian Film at the 2012 Warsaw Film Festival; Official Selection of the 2012 Busan International Film Festival and 2012 Cinemalaya Independent Film Festival. GFI honorable mention awarded in 2012.
For more information about the Granting Program, please visit: www.globalfilm.org/programs.htm
About the Global Film Initiative
The Global Film Initiative is a U.S.-based international arts organization specializing in the support of independent film from Africa, Asia, Central & Eastern Europe, Latin America and the Middle East. Founded in 2002 to promote cross-cultural understanding through the language of cinema, the Initiative awards numerous grants to deserving filmmakers from around the world each year, and supports a touring film series entitled Global Lens. For more information about the Global Lens film series and Global Film Initiative programs, please visit: http://globalfilm.org/programs.htm.
The Global Film Initiative is a 501(c)3 tax-exempt organization. All proceeds from the Global Lens film series support international filmmaker grants, educational programming and resources, touring film exhibitions and other philanthropic initiatives and programs sponsored by the Global Film Initiative.
The Global Film Initiative
145 Ninth Street, Suite 105
San Francisco, California 94103 USA
+(415) 934-9500 – phone
+(415) 934-9501 - fax
Friday, November 2, 2012
Wednesday, October 31, 2012
"A true United Nations of cinema, showcasing films from around the entire world."
Understanding the World through Film®
~ Call For Entries ~
Early Bird Deadline: December 1, 2012
Late Deadline: January 15, 2013
Tiburon, CA: The 12th Annual Tiburon International Film Festival (TIFF) will be held April 2013 in Tiburon, California, a showcase for the independent feature and short films from around the world.
Submissions are open to all genres: Fiction, documentary, short, animation, experimental, student, children, sports, music video.....from any nation in the world.
TIFF has screened over 2000 films from more than 100 countries since its inception.
The festival has also honored and hosted many great filmmakers such as: Oscar winning director and cinematographer Haskell Wexler [Medium Cool], George Lucas [Star Wars], Blake Edwards [Pink Panthers], Santiago Alvarez [Hanoi Martes 13], John Frankenheimer [Manchurian Candidate], George Stevens [Shane], Malcolm McDowell [A Clockwork Orange], Saul Zaentz [One Flew Over the Cuckoo's Nest], Mark Rydell [On Golden Pond], Irving Saraf [The Sermons of Sister Jane], Robert Snyder [Pablo Casals: A Cry for Peace], Paul Mazursky [Down & Out in Beverly Hills], Bob Rafelson [Five Easy Pieces], Brad Bird [Toy Story], Luchino Visconti [Death in Venice], Hal Hickel [Pirates of the Caribbean]....
Tiburon International Film Festival is proud to be a platform for the independent filmmakers from around the world.
Golden Reel Awards:
The films submitted to the Tiburon International Film Festival are eligible to win the "Golden Reel Award" in several categories: Best Fiction, Best Documentary, Best Director, Best Screenplay, Best Short, Best Animation, Best Children's Film, Best Student Film, Best Music Video, Best Sport Film.....The winners of all categories will be announced during a ceremony at the end of the Festival.
Early Bird Deadline: December 1, 2012
Late Deadline: January 15, 2013
Tiburon International Film Festival
Phone: (415) 251-TIFF 
Fax: (636) 444-TIFF 
6 Beach Road, 544 ~ Tiburon, CA 94920 USA
Tuesday, October 30, 2012
Among the 6 projects selected this year for PRODUIRE AU SUD workshop, "Chenu" is an Indian project, directed by Manjeet Singh and produced by Reen Mahe, PRODUIRE AU SUD is a workshop focusing on the outline and structure of film co-production within the industry. The workshops aim to familiarize young producers based in the south: Asia, Africa, Latin America, the Near and Middle East and Central and Eastern Europe with a variety of important tools.
The PRODUIRE AU SUD workshop was created in 2000 in Nantes, in order to support the creation of a network of young producers from Asia, Africa and Latin America and lay the foundations for lasting cooperation between European film professionals and emerging professionals from the South.
WHAT ARE THE AIMS ?
The workshop aims to familiarize producers and film directors based in the South with a variety of important tools and international coproduction techniques by coaching individual projects in development.
HOW DOES IT WORK ?
The PRODUIRE AU SUD workshop - Nantes, which takes place during the FESTIVAL DES 3 CONTINENTS, is an 8-day training workshops that proposes:
- a production workshop: a 3 days master class with European professionals: introduction to co-production, co-production contracts, fundraising, international sales, specific case studies ;
- a marketing workshop: pitch training and a public presentation of scripts and projects to potential producers;
- a scriptwriting workshop: 2 days of individual analysis and appreciation by scriptwriters and producers familiar with co-productions and international sales issues.
International professionals run the workshops: producers, legal experts, distributors, sales managers, specialized TV channel staff members, and European scriptwriters.
Thursday, October 25, 2012
Thursday, October 11, 2012
NFDC Film Bazaar 2012 extends Call for Entries deadline for Work-in-Progress Lab & Viewing Room to October 17 ‘12
Mumbai, Monday, 8th October 2012: Film Bazaar, the evolving trade market for film industry professionals organized by NFDC (National Film Development Corporation), announces today the extension of the call for entries for Work-in-Progress Lab & Viewing Room on September 21st, 2012, to 17th October 2012. The earlier deadline for the same was 10th Oct ’12. The sixth edition of Film Bazaar will be held from November 21- 24, 2012 at the Goa Marriott Resort alongside the International Film Festival of India 2012.
Due to popular demand from independent film makers, directors and producers, NFDC has extended the deadline to accommodate aspiring talent in the industry and offer them a chance to be a part of the annual film market coming soon this year.
Work in Progress Lab : In (WIP) Lab this year 5 selected projects in their rough cut stage will be presented to a panel of international film experts. The intention is to help the filmmaker achieve and accomplish the final cut through expert insights. Celebrated film critic & historian, Derek Malcolm; Head of Israel Film Fund, Katriel Schory & Chris Paton from Fortissimo Films were the mentors for WIP Lab in 2011. Some of the films from the 2011 WIP Lab that have gone on to have World premieres at prestigious international film festivals were :
Ø Ashim Ahluwalia’s - Miss Lovely ( World Premiere, Cannes Film Festival in official competition section-Un Certain Regard
Ø Manjeet Singh’s - Mumbai Cha Raja
Ø Anand Gandhi’s - Ship of Theseus (World Premiere, Toronto Film Festival 2012)
Ø Ajay Bahl’s - BA Pass (World Premiere, 12th Osian’s Cinefan Film Festival).
The Work in Progress Lab is open for feature length films and documentaries in the rough-cut stage.
Viewing Room: Viewing Room (previously known as Screening Room) was successfully introduced in FB 2011 with the aim of presenting films seeking finishing funds, world sales, distribution partners & film festivals. It was presented to the investors, world sales agents and film festival programmers at the Bazaar.
The Films are viewed on individual computer terminals in private booths via specially designed Viewing Room software. This allows the viewer to watch the films completely, access more details of the film as well as contact the director or producer. This section is open to films of all genres and lengths which are complete or in the rough cut stage. Films presented in this section last year also have been selected by various film festivals worldwide.
The Viewing Room is open to films of all lengths and genres and in any stage of completion. Hence, filmmakers applying to the Work-in-Progress Lab can also submit their film to the Viewing Room.
About NFDC Film Bazaar
Film Bazaar, an evolving trade market for film industry professionals organized by NFDC (National Film Development Corporation), kick started in 2007 with an objective to discover and support significantly compelling talent from South Asia and address key concerns of the world film community in the dynamic domain of film development, production, and distribution. Since the beginning, Film Bazaar has proved to be a converging point for buyers and sellers of film rights and also been consistently successful at facilitating sales of world cinema in the South Asian region and the promotion of Indian Cinema in the international domain.
Film Bazaar, a four day annual film market, conducts noteworthy sessions, labs, and screening facilities, networking events, viz, Co-production market, Screenwriters’ Lab, PRIMEXCHANGE, Work-in-Progress Lab, Viewing Room, Industry Screenings, NFDC Knowledge Series, and exhibition stalls for publicity. While these programs facilitate high engagement amongst experts and talent from across the world, film makers, aspiring and established, get a chance to showcase their projects for creative consultation and financial support from investors, and producers alike.
For registrations to attend NFDC Film Bazaar 2012, please visit: www.filmbazaarindia.com
For further information and details, please contact:
Agency contacts here
Pallavi Deshmukh- NFDC
H- +91 97699 56801 l E- firstname.lastname@example.org
Busan International Film Festival opened on October 4th night to a seductive parade of South Asian film stars at their dressy best, described by a local as "glamorous, glitzy, graceful and gaudy". Apart from this concession to a wildly enthusiastic media, Busan is known for its serious and concentrated incentives to help, aid and promote Asian and Korean cinema in as many essential ways as possible.
In the 17 years since it started in 1996, the Busan festival today rates as the leading film event in Asia and, in addition, as one among the top six festivals in the world. The festival offers as many as 13 major awards aimed at young and emerging filmmakers. Its Asian Film Fund, open to new talent for their latest work, offers professional help and financial aid under three sections: Script Development, Post Production and Asian Development of Documentary. The world's masters in cinema serve as mentors in these funding goals. India has a strong presence in Busan this year, with a fine selection that reflects the many aspects and flavors of new Indian Cinema. The debut work Filmistaan by Nitin Kakkar, is set to compete in the festival's coveted New Currents Award. The section Window on Asian Cinema, will showcase four films, Habib Faisal's Ishaqzaade, Kamal KM's I.D., Suman Ghosh's Shyamal Uncle Turns Off the Lights and Musa Syed's Valley of Saints. Anurag Kashyap;s Gangs of Wasseypur I and 2, are featured in Busan's Midnight Passion. The Open Cinema section has Anurag Basu's Barfi. The Wide Angle section features Arnab Chaudhuri’s animated film Arjun alongside the two documentaries, Sourav Sarangi's Char - the Island Within and Pankaj Rishi Kumar's In God's Land. Two Indians serve as jury members. Madhu Eravankara is on the FIPRESCI Jury comprising film critics, which selects the best first or second film in the entire festival. Supriyo Sen is on the festival's Documentary Jury. The Sri Lankan film Nil, directed by Linton Semage, also screens in 2012 Busan, as does the France-Pakistan entry, Noor, directed by Çağla Zencirci and Guillaume Giovanetti.
Published in Film Information 6th October 2012 Vol. XXXX
Monday, September 24, 2012
INDIAN CIRCUS starring TANNISHTHA CHATTERJEE and presented by renowned director IMTIAZ ALI. The opening night reception will include a cocktail andchat session with Imtiaz Ali. Other key films include LESSONS IN
FORGETTING, LISTEN AMAYA, GUERILLA, 10 ML LOVE, BA PASS and
representing two stalwart directors are the films KOORMAVATARA (Girish Kasravalli) and KHARIJ(Mrinal Sen).
Thursday, September 6, 2012
· The Toronto International Film Festival (TIFF) stands second in prestige to Cannes, and is avidly followed as a lead to next year’s Oscars. The last five Academy Award winners for Best Picture played at TIFF before their commercial release. TIFF 2012 has 289 feature films, (20 more than last year) and a bumper 146 world premieres, adding up to 515 hours of film from 72 countries.…
· Savvy India: Each producer/director team of the 15 films from India has hired a press agent and some have sales agents attached, indicating that Indian independent cinema has come of age.
· Docs that dare: Canadian actress/Oscar-nominated Sarah Polley’s Stories We Tell reveals that her father wasn’t her biological dad: she knew this but he did not. She says, “Making this film was the hardest thing I’ve ever done. It took five years and tormented me.”
· Temptation galore: Legendary Italian filmmaker Bernardo Bertolucci presents his first film in 10 years returning to the subject of youth with his latest film Me and You. In his 45 years of filmmaking, the slow-paced Terence Malick surprises by presenting two consecutive films one is His Tree of Life last year is followed this year by To The Wonder. The 103-year-old Portuguese filmmaker, Manoel de Oliveira presents his latest, Gebo and the Shadow.
· Literary Adaptations: new versions of Dickens's Great Expectations, Tolstoy's Anna Karenina and Shakespeare's Much Ado About Nothing are major draws, as are the Southern gothic drama The Paperboy, based on Pete Dexter's novel; Stephen Chbosky's screen version of his young-adult novel The Perks of Being a Wallflower (with Emma Watson).
· Politics plays a key role: On screen, many films deal with politics, especially from the Middle East. Off screen, politics of this region matters. Toronto’s festival management decried the fate of Syrian producer Orwa Nyrabia, missing now for well over a month. Others endorsed, including Martin Scorcese, “I was alarmed by the news that the Syrian actor and producer Orwa Nyrabia has been arrested by the Syrian regime, held in an undisclosed location and denied any communication with the outside world, including his own immediate family.”
· NFDC will run the India Pavilion for the second year in the Industry floor of the Hyatt Regency joining hands with ten other national agencies, viz. German Films, Film Export UK, ICAA (Spanish Institute of Cinematography), IMCINE (Mexican Film Institute), INCAA (Instituto Nacional de Cine y Artes Audiovisuales), Israel Film Fund, Istituto Luce Cinecittà, OMDC (Ontario Media Development Corporation), Scandinavia (Danish Film Institute, Finnish Film Foundation, Icelandic Film Centre, Norwegian Film Institute, Swedish Film Institute), and Unifrance
Wednesday, September 5, 2012
The following films made in India or ones that connect with India have been selected for the 56th BFI London Film Festival being held October 10 to 21, 2012
AIYYA: Dir. Sachin Kundalkar
CHAKRAVYUH: Dir. Prakash Jha
PEDDLERS (HALAHAL): Dir. Vasan Bala
SHIP OF THESEUS: Dir. Anand Gandhi
THE RELUCTANT FUNDAMENTALIST: Dir. Mira Nair (Co-production with USA and Pakistan)
SAVE YOUR LEGS!: Dir. Boyd Hicklin (Co-production with Australia)
WITH YOU, WITHOUT YOU (OBA NATHUWA OBA EKKA): Dir. Prasanna Vithanage (Co-production with Sri Lanka)
MAHANAGAR (THE BIG CITY): Dir. Satyajit Ray – Archive collection
I AM MICRO: Dir. Shumona Goel and Shai Heredia
Wednesday, August 15, 2012
"I am both delighted andhonored to be back at the New York Film Festival with Life of Pi," Ang Lee said. "I have the deepest respectfor Richard Peña and his team and to be selected by them as the Opening Nightfilm for the 50th Anniversary is extremely gratifying. I am also excitedbecause this is my hometown, and to be unveiling this film that I am so proud of."
The story of young man who survivesa disaster at sea, Life of Pi isbased on Yann Martel's bestselling novel, long considered an un-filmable book.It takes place over three continents, two oceans and many years. Lee hasemployed breakthrough technology and his distinctive visual style in order totell this epic story.
For Lee, Life of Pi is his third film to feature at the New York FilmFestival; "Crouching Tiger, Hidden Dragon" closed the event in 2000,while "The Ice Storm" kicked things off in 1997.
The New York Film Festival runs fromSept. 28 to Oct. 14. Life of Pi releases in the US on Nov. 21.
Thursday, August 2, 2012
TIFF’s 2012 City to City lineup
Earlier this year, Cameron Bailey, co-Director and the Artistic Director of the Toronto International Film Festival announced that TIFF’s City to City programme will focus on Mumbai. This is the fourth year for the City to City series. Cities featured in past programmes include Tel Aviv, Istanbul and Buenos Aires.
TIFF’s 2012 City to City lineup will showcase ten films made by filmmakers living and working in Mumbai city. They are
Anurag Kashyap’s Gangs of Wasseypur Part 1
Anurag Kashyap’s Gangs of Wasseypur Part 2
Manjeet Singh’s Mumbai Cha Raja
Vasan Bala’s Peddlers
Ashim Ahluwalia’s Miss Lovely
Dibakar Bannerjee’s Shanghai
Hansal Mehta’s Shahid
Habib Faisal’s Ishaqzaade
Mohit Takalkar’s The Bright Day
The festival runs September 6 to 16, 2012
Wednesday, July 25, 2012
3 Indian women directors' spotlit at Toronto's Gala section
Piers Handling, CEO and Director of TIFF, and Cameron Bailey, Artistic Director of the Toronto International Film Festival, made the first announcement of films to premiere at the 37th Toronto International Film Festival. Films announced include titles in the Galas and Special Presentations programmes. The announced films include 17 Galas and 45 Special Presentations, including 38 world premieres. The following three Indian films have been selected for Toronto's feted Gala section. All three films have been directed by women.
English Vinglish directed by Gauri Shinde, India World Premier
Midnight’s Children directed by Deepa Mehta, Canada/United Kingdom World Premiere
The Reluctant Fundamentalist directed by Mira Nair, USA North American Premiere
English Vinglish Gauri Shinde, India World Premiere
Money, fame and a knowledge of English. In India, these 3 factors play a huge role in how society judges an individual. English Vinglish is the story of Shashi, a woman who does not know English and in turn is made to feel insecure by her family and society at large. The film is the lighthearted yet touching and transformational journey of Shashi. Circumstances make her determined to overcome this insecurity, master the language, teach the world a lesson on the way to becoming a self assured and confident woman. This film marks the comeback of India’s biggest female star, Sridevi.
Midnight’s Children Deepa Mehta, Canada/ United Kingdom World Premiere
“Born in the hour of India’s freedom. Handcuffed to history.” Midnight’s Children is an epic film from Academy Award-nominated director Deepa Mehta, based on the Booker Prize-winning novel by Salman Rushdie. At the stroke of midnight on August 15, 1947, as India proclaims independence from Great Britain, two newborn babies are switched by a nurse in a Bombay hospital. Saleem Sinai, the illegitimate son of a poor Hindu woman, and Shiva, the offspring of wealthy Muslims, are fated to live the destiny meant for each other. Their lives become mysteriously intertwined and are inextricably linked to India’s whirlwind journey of triumphs and disasters. Starring Satya Bhabha, Shahana Goswami, Rajat Kapoor, Seema Biswas, Shriya Saran, Siddharth, Ronit Roy, Rahul Bose, Kulbushan Kharbanda, Soha Ali Khan, Anita Majumdar, Zaib Shaikh and Darsheel Safary.
The Reluctant Fundamentalist Mira Nair, USA North American Premiere
Based on the best-selling novel of the same title, that was translated into 25 languages, The Reluctant Fundamentalist is a riveting international political thriller that follows the story of a young Pakistani man chasing corporate success on Wall Street, who ultimately finds himself embroiled in a conflict between his American dream, a hostage crisis and the enduring call of his family's homeland. Starring Riz Ahmed, Kate Hudson, Kiefer Sutherland and Liev Schreiber.
Thursday, May 31, 2012
Anurag Kashyap: 'The perception of India cinema is changing'
Digital Spy: Published Monday, May 28 2012, 16:12 BST | By Priya Joshi |
Indian filmmakers and delegates attending the 65th Cannes Film Festival have said that the strong Indian presence this year has changed the international perception of Indian cinema.
Anurag Kashyap, whose two-part crime film Gangs of Wasseypur was selected for the Directors' Fortnight, told The Times of India: "Indian cinema has been about only song and dance to the West. But with films like GoW, the perception is changing. I think they were surprised to see a film that is fierce in its spirit and yet entertaining.
"We're really thrilled with the reactions. Cannes is such a busy festival and it was amazing to see a full house for such a long film. Both parts of Gangs of Wasseypur were received well."
Compared with previous years, Indian cinema was strongly represented at the festival, with Gangs of Wasseypur, Peddlers and Miss Lovely in competition, and a screening of Indian classic Kalpana.
The event also saw Bollywood represented with the presence of Mallika Sherawat and Aishwarya Rai Bachchan.
Co-producer of Gangs of Wasseypur Sunil Bohra said: "I always told my friends a very stupid thing. I'll only go to a film festival when I have a film there. First year in Cannes, a film I co-produced in competition. It's very thrilling.
"We have had five films in competition. It is so amazing that five films are in key sections. So it's a good year. Finally our cinema is getting the recognition it deserves."
Speaking to Digital Spy, acclaimed filmmaker Bobby Bedi, who is embarking on a sequel to Bandit Queen, described India's representation as "a slow process".
"It started seven years ago. We have a film in competition and that is a good thing."
Speaking about Anurag Kashyap's achievement, Bedi said: "Fifteen years ago Bandit Queen was the last film India had in Directors' Fortnight. This is the next one. I can remember how anxious we were."
Internationally-renowned film critic and 40-year veteran of the Cannes film festival Derek Malcolm said the Indian representation should be more selective.
"The representation of India at Cannes has always been disgraceful," he commented.
"Silly Bollywood films that don't represent the best of India. It's very difficult to make good Indian films that are good enough for the competition. The situation in India is very bad for independent filmmakers.
"So it's been a dry period for the last ten years. Gradually it's improving, and the India Pavilion and the fact that it's being organised properly makes a big difference and I think we should try to encourage better Indian filmmakers to come even if they haven't got films.
"I think the India representation should be much more selective. Not all Bollywood films are terrible, just far too long. Miss Lovely is something entirely different from India. It's a good film. Indians haven't plugged the right films. I really think it's a bit of a mess, but hopefully, gradually it will improve."
Actor and producer Sanjay Suri, who was selected by the CNC for the Producers Network at Cannes 2012 and was invited to walk the red carpet for Ken Loach's The Angels' Share, said India's participation in the festival was a "cause for celebration".
"It's great to see such a huge participation from India this year. We have three Indian films at Cannes this year in various categories and that's something that calls for celebration."
Uma Dacunha, editor and publisher of the quarterly Film India Worldwide and a 25-year veteran of the festival, described the Indian selection as a "renaissance for Indian cinema".
Aishwarya Rai Bachchan makes first appearance at 2012 Cannes Festival
"Indian cinema has gone through a very slack period. We have not been going to film festivals," she said. "Not just Cannes, but Berlin, Venice. We have not been in competition. We have not been in the main sections. We are just tucked away in some smaller sections, whereas one time in '70s and '80s India was everywhere.
"We seem to have gone down somewhere. I don't know what the reason is. Inaccessible films, maybe the culture.
"In Cannes this year it's a kind of renaissance for us. Three films in the main sections from some of the finest filmmakers in India. And I think Aishwarya plays a very relevant role. It's a tremendous boost for us.
"We are now getting back into the international scene. It really is by far the best organised festival in the world. I'm looking forward to the Indian films making a huge impact and seeing our films in competition next year too."
Tuesday, May 22, 2012
Actor producer Sanjay Suri with Critics Week jury member Bikas Mishra (of website Dear Cinema.Com)
Anurag Kashyap and his lead actress Huma Quereshi at a photo session against Cannes coastline
Christian Jeune (Director of Film Department - Deputy General Delegate) of Cannes fest with Mr Uday Kumar Varma , Secretary I & B Ministry, Govt of India
Monday, May 21, 2012
India cinema’s own New Wave – close off shore?
Cannes, May 19, 2012 – There is high anticipation about new Indian cinema among delegates at the 65th Festival de Cannes. They ask if there is a new wave in Indian cinema, early ripples of which are visible here in films depicting the reality of India. The view is shared by a majority of Indians present (said to be over 800 this year). Anurag Kashyap says, “We have a new generation of filmmakers striving to make films which work beyond our own market and take Indian stories to the world and beyond our own diaspora audience.”
With the emphasis given in recent years to training filmmakers by international experts in the craftsmanship of cinema, there does seem to be resurgence. The National Film Development Corporation (NFDC) has in recent years fine-tuned its Film Bazaar to provide an annual scriptwriting forum. It also selects a batch of new Indian filmmakers to attend screen writing courses at leading festivals such as Venice, Rotterdam and Locarno. Recently, Mumbai Mantra has teamed up with the Sundance film festival to pick 12 interesting new scripts from India followed by another high-level screenwriters’ retreat lab. The mentors at all these venues are of high caliber – and full of praise for the aspiring crop of Indian filmmakers.
Invariably, the latter half of Cannes is the more intriguing. This is could be because the really prized films need those precious extra days. So, they jostle together in the second week of Cannes. It was only yesterday afternoon that the India Pavilion resounded to hurrahs for the three Indian films that are yet to unfurl in three different Festival sections. Recently arrived were mover and shaker Anurag Kashyap (director of the two part, five hour Gangs of Wasseypur, in Director’s Fortnight) and Vasan Bala, (the curly-cropped debut director of The Peddlers screening in Critics Week). Both were cheered as Uday Kumar Verma , Secretary, Information and Broadcasting Ministry, draped ceremonial shawls on them. Both were speechless at the honour. A while later, the third Indian filmmaker to make his mark in Cannes was also being congratulated, Ashim Ahluwalia with his debut feature Miss Lovely in the Un Certain Regard section.
Very fittingly, on this celebratory occasion, Managing Director Nina Lath Gupta announced that NFDC, India had appointed Marten Rabarts to head NFDC’s Development wing. He will give up his job as Artistic Director of the renowned Binger Filmlab. Rabarts will relocate to Mumbai and oversee a professional development and training hub for directors, producers and writers in Mumbai.
Bringing a further gloss to India shining in Cannes will be Aishwarya Rai and Sonam Kapoor. They will attend the AMFAR (American Foundation for AIDS Research) dinner and after-party fund-raising event scheduled for May 24. Mallika Sherawat has been in Cannes for some days now gracing the red carpet.
Thursday, May 10, 2012
Osian’s Film House announces the return of the Osian’s-Cinefan Festival of Indian, Asian and Arab Cinema, after a sabbatical of two years. The 12th OCFF will be held in New Delhi from July27 to August 5 2012 with the Siri Fort Complex serving as its main venue as in the past few years.
Entries are invited for a variety of Competition and Out-of-Competition sections.
Asian and Arab
Feature films made by Asian and Arab directors, produced in Asia or the Arab world or films depicting Asian and Arab lives, made between January 2011 and April 2012.
Feature films made by Indian directors, produced in India or directed by persons of Indian origin between January 2011 and April 2012.
First Features made by Asian and Arab directors, produced in Asia or the Arab world or films depicting Asian and Arab lives, made between January 2011 and April 2012.
Only first or second short film of a director of Indian, Asian or Arab origin, and produced between January 2011 and April 2012 will be eligible
Out of Competition
recent films from Asian and Arab countries that showcase the richness and diversity of their cinemas
a section consisting of packages of short films from all over the world and a competition for Asian and Arab shorts
Films about manmade and natural heritage along with short films and documentary cinema
The deadline to receive preview DVD’s with English subtitles is 10 June 2012.
For more details, contact:
Senior Vice President, The Film House, Osian's Connoisseurs of Art Pvt. Ltd.
B 35 Qutub Institutional Area
New Delhi – 110016
T: 91 11 41 74 31 66
F: 91 11 41 74 31 77
M: 91 9810 07 52 36
Friday, April 6, 2012
Jai Bhim Comrade wins Best Documentary award
Jai Bhim Comrade, the 198 minute documentary directed by Anand Patwardhan won the Firebird (Best Documentary) award at the 36th Hong Kong international Film Festival.
The 36th Hong Kong International Film Festival (HKIFF) held over March 21 to April 5, announced this year’s winning films for the SIGNIS Awards, FIPRESCI Prize, and the Firebird Awards for Short Film Competition, Documentary Competition and Young Cinema Competition. The announcement took place at the Hong Kong Cultural Centre. The winners of Documentary Competition Award and Young Cinema Competition will receive a camera kit sponsored by Nikon.
Co-organised with SIGNIS Hong Kong since 2004, the SIGNIS Awards recognise quality films that express social and humanitarian concerns as well as spiritual values.
The Documentary Competition Award is made to documentary filmmakers who address social issues. The Firebird Award was made to Jai Bhim Comrade by Anand Patwardhan. The Jury recognized that "Its subject is compelling but easy to ignore. The film is morally powerful and dignifies the people whose world it reveals. It is lyrical, a musical, a compilation film and a wonderful piece of journalism."
Jai Bhim Comrade a 3 hour documentary by Anand Patwardhan on a tradition of reason that survives the ongoing atrocity of caste in India, had previously won the Ram Bahadur Award for Best Film at Film South Asia in Kathmandu, the Best Film of the Festival Award at the Mumbai International Film Festival and Special Jury Award at the National Film Awards, India.
Monday, April 2, 2012
CALL FOR ENTRIES
Mumbai Film Festival offers on e of the highest Cash Awards and Incentives
International Competition for the first feature films of directors
USD 100,000* for the Best First Film
USD 50,000* for the Grand Jury Prize
*Cash prize to be shared between the director, producer and the sales agent/Indian distributor.
The Audience Choice Award
USD 20,000 to be shared between the director, producer and the sales agent/Indian distributor
Cash Incentives for Sales Agents
USD 10, 000 if the award winning films are international or world premiers.
We look forward to welcoming you and your films in Mumbai!
Entry forms and screeners for selection must reach the festival office before
August 1, 2012.
International Competition for The First Feature Films of Directors aims to attract fresh talent to the festival. The competition is open to debut filmmakers from all over the world.
Dimensions Mumbai A short film competition of five minute duration or less in any format by the Youth of Mumbai below the age of twenty five, on any aspect of this bustling metropolis, Mumbai.
Harmony Celebrate Age is a competition that aspires to encourage filmmakers from all over the world to look at the spice, fun, adventure and concerns of growing older.
World Cinema showcases the best cinema of the year which are selected from important global film festivals
Above The Cut screens a package of excellent debut feature films which could not be accommodated in the International Competition.
Retrospectives presents treasures from the past. It is nostalgia for the veterans to revisit these & sheer pleasure for the youth.
Indian Frame features the very best of Indian Cinema from all regions of the country.
New Faces In Indian Cinema screens First & Second Feature Films of the Indian directors to provide a platform to emerging Indian filmmakers.
The Real Reel showcases award winning and critically acclaimed feature length documentaries which carry strong opinions on issues concerning our social lives, human nature and many other topics.
Film India Worldwide The global face of Indian cinema, which has gone beyond reflecting diaspora.
Friday, March 30, 2012
Attention : India at Cannes 2012
It is time to prepare for Cannes 2012 which will take place from May 16 to 27. As in previous years, we at Film India Worldwide are getting the material together for our Cannes Special issue. This issue annually highlights India’s participation and presence at Cannes. It also provides a listing of the Indian delegates who plan to attend. In addition, it features Indian and India related films being screened in Cannes in its main sections. This issue is widely distributed at Cannes and also at leading festivals that follow in the coming months. A key segment provides a listing of film professionals who will be present, stating their objectives and work projects, and also noting their contacts in Cannes.
We request film and media professionals from India or those who have business links with India to get in touch with us. Please email us at <news.filmindiaworldwide.com>
Tuesday, March 20, 2012
LADAKH INTERNATIONAL FILM FESTIVAL (LIFF), 2012
15th to 17th June, 2012
To submit a film, you need to:
Comply with the Pre-selection Conditions
Fill out the online Entry Form or download pdf file and fill it and send it to us along with other requirements
Send in your film to the address indicated at the bottom of the Entry Form
If your film is selected, you'll have to comply with the Rules and Regulations
Films can be selected for the ‘International’, ‘Indian’ and ‘Competition’ sections. However, the Selection Committee decides which section a film can participate in. Decisions of the Jury are final in the matters of selection of the films. For details contact <email@example.com>
ENTRY FEE : There is no entry fee for the films. However the handling charge per film is INR 500 or US$15 or EUR 9.
For more details contact <firstname.lastname@example.org>
Saturday, March 17, 2012
Cameron Bailey, co-Director and the Artistic Director of the Toronto International Film Festival was in Mumbai for the FICCI-FRAMES three day convention, where he was a panel member for the discussion on Navigating the International Waters: Indian Cinema and Actors Overseas. At the conclusion of his talk he announced that TIFF’s City to City programme will focus on Mumbai. This is the fourth year for the City to City series. Cities featured in past programmes include Tel Aviv, Istanbul and Buenos Aires.
“Past editions of City to City explored how filmmakers represented their urban landscape. This year we'll shift the scope of the programme to showcase filmmakers living and working in Mumbai, regardless of where their films are set," said Bailey, who is currently in Mumbai participating in FICCI FRAMES, the global media and entertainment convention. “There's been an exciting evolution recently that's seen local independent films emerge to contrast with Bollywood's dazzling commercial movies. Whether you call it Mumbai or Bombay, this city is a massive player in the global film world, and a place I've grown to love in all its diversity. Toronto audiences are in for a thrill this September.”
TIFF’s 2012 City to City lineup will showcase around ten films made by filmmakers living and working in Mumbai city. The final selection will be announced in August. The 37th Toronto International Film Festival runs from September 6 to 16, 2012.
To tweet this release: tiff.net/TIFFCTC
TIFF is a charitable cultural organization whose mission is to transform the waypeople see the world through film. An international leader in film culture,TIFF projects include the annual Toronto International Film Festival inSeptember; TIFF Bell Lightbox, which features five cinemas, major exhibitions, and learning and entertainment facilities; and innovative national distributionprogram Film Circuit. The organization generates an annual economic impact of$170 million CAD. TIFF Bell Lightbox is generously supported by contributors including Founding Sponsor Bell, the Province of Ontario, the Government ofCanada, the City of Toronto, the Reitman family (Ivan Reitman, Agi Mandel andSusan Michaels), The Daniels Corporation, Major Sponsor and official bank RBC,and BlackBerry. For more information, visit tiff.net.
Toronto International Film Festival isgenerously supported by Lead Sponsor Bell, Major Sponsor RBC, and MajorSupporters the Government of Ontario, Telefilm Canada, and the City of Toronto.
Friday, March 16, 2012
TORONTO INTERNATIONAL FILM FESTIVAL SETS ITS SIGHTS ON MUMBAI
FOR 2012 CITY TO CITY PROGRAMME
Mumbai — Cameron Bailey, Artistic Director of the Toronto International Film Festival, announced today that the 2012 Festival's City to City programme will focus on Mumbai.
“Past editions of City to City explored how filmmakers represented their urban landscape. This year we'll shift the scope of the programme to showcase filmmakers living and working in Mumbai, regardless of where their films are set," said Bailey, who is currently in Mumbai participating in FICCI FRAMES,the global media and entertainment convention. “There's been an excitinge volution recently that's seen local independent films emerge to contrast with Bollywood's dazzling commercial movies. Whether you call it Mumbai or Bombay,this city is a massive player in the global film world, and a place I've grown to love in all its diversity. Toronto audiences are in for a thrill this September.”
This is the fourth year for the City to City series;cities featured in past programmes include Tel Aviv, Istanbul and Buenos Aires.The announcement of the City to City lineup will be made in August. The 37thToronto International Film Festival runs from September 6 to 16, 2012.
To tweet this release: tiff.net/TIFFCTC
TIFF is a charitable cultural organization whose mission is to transform the way people see the world through film. An international leader in film culture,TIFF projects include the annual Toronto International Film Festival in September; TIFF Bell Lightbox, which features five cinemas, major exhibitions,and learning and entertainment facilities; and innovative national distribution program Film Circuit. The organization generates an annual economic impact of$170 million CAD. TIFF Bell Lightbox is generously supported by contributors including Founding Sponsor Bell, the Province of Ontario, the Government of Canada, the City of Toronto, the Reitman family (Ivan Reitman, Agi Mandel and Susan Michaels), The Daniels Corporation, Major Sponsor and official bank RBC,and BlackBerry. For more information, visit tiff.net.
Toronto International Film Festival is generously supported by Lead Sponsor Bell, Major Sponsor RBC, and Major Supporters the Government of Ontario, Telefilm Canada, and the City of Toronto.
Thursday, March 15, 2012
Cameron Bailey named Artistic Director
The Toronto Film Festival announced on March 14th that Piers Handling's co-director Cameron Bailey has been named artistic director. Handling remains as director and CEO.
Bailey became co-director three years ago, replacing Noah Cowan who had also been Handling's co-director. Cowan moved to artistic director of Bell Lightbox, the fest's home-base and screening venue.
The co-director's role was to allow Handling to move away from the day-to-day running of the fest and focus on his CEO functions. But this latest move brings Handling back into a hands-on role.
Bailey and Cowan will be in charge of both year-round and fest programming.
"Today's announcement is part of our ongoing efforts to become a fully integrated year-round film institution," said Handling. "While Cameron's responsibilities remain unchanged, I believe that his new title will support our efforts to streamline and integrate our programming across all divisions within the organization."
Call for Entries
National Film Development Corporation’s
Screenwriters’ Lab: 2012
Film Bazaar, NFDC will conduct its 6th edition of Scriptwriters’ Lab between Venice and Goa in 2012 as part of its endeavour to provide a platform for Indian script writers and international film professionals to collaborate.
Scriptwriters’ Lab 2012, invites 6 Indian scriptwriters to work with international mentors on their scripts and look for possible co-production partnership opportunities during Film Bazaar.
A two part script-lab designed to prepare Indian screenwriters with original stories for working with international film professionals. The Screenwriters’ Lab aims at improving a completed screenplay, with focus on the international marketability of the same.
Held in association with Binger Filmlab and the Venice International Film Festival, Italy.
The lab is conducted by Marten Rabarts, Artistic Director, Binger Filmlab inn association with international mentors
Session 1: Venice International Film Festival, Italy
Session 2: November third week, 2012 at Film Bazar, Goa, India
Application Deadline – May 31, 2012
Applications available online at www.filmbazaarindia.com
Binger Filmlab, Amsterdam, opened its doors in 1996 as a post-academic training center for film professionals and has matured into a challenging and unique film lab with intensive programs that focus on the development of projects and individual talents that create them. In the first 10-year trajectory. Binger had discovered its natural allies in its work of supporting the brightest emerging talents; the Sundance institute and its Labs in the US, the Nipkow programme residencies in Berlin, Paris’ Cinéfondation Residence (Cannes International Film Festival) and now with NFDC’s Film Bazaar in India.
NFDC – Binger Screenwriters’ Lab believes in challenging filmmakers to look at many choices available and recognize the wide array of possibilities that are inherent in their stories and lie within their vision of the film.
About Film Bazaar
National Film Development Corporation’s international co-production and sales market is held over 4 days in November alongside the International Film Festival of India in Goa. Projects at all stages of development and production are eligible to apply for the co-production market. Other activities include the Companies’ Marketplace, the Work-in-Progress lab for rough cuts, the Screenwriters’ Lab and a Business Conclave. International partnerships have included an award for the most promising project presented by the Huberts Bals Fund. Its partners include Primehouse, Europa Cinemas, CineMart, The Hubert Bals Fund, Moscow Co-Production Market, IFP New York, and the Binger Filmlab of the Netherlan
Friday, March 9, 2012
Nisha Pahuja’s The World Before Her open’s Tribeca’s documentary section.
The 11th Tribeca International Film Festival, founded by actor Robert De Niro to showcase independent cinema, will be held across New York city from April 18 to 29. The complete line-up of the festival, announced on March 8, for the first time designated the opening films for narrative and documentary competition The opening film for the World Documentary section is The World Before Her, directed by Canada-based Nisha Pahuja.
The World Before Her follows the journey of two girls who want to win the Miss India Contest, taking the viewer through an India divided on political, economic and cultural lines. As in other countries that are patriarchal, beauty pageants are a lightning rod in India, revealing a country poised to enter the future, yet still unsure of what that future will be. The film weaves together the seemingly opposing stories of the Miss India beauty pageant and the opposition the event faces from a fundamentalist camp for girls. Director Nisha Pahuja illuminates the situation of women across contemporary India, drawing surprising parallels in the way women are perceived and the opportunities that are afforded them in both modernizing and traditional cultures. The film, In English, Hindi, Marathi and Gujarati, is produced by Ed Barreveld and Cornelia Principe for the banner Storyline Entertainment.
Writer/Director Nisha Pahuja is a documentary filmmaker, researcher and writer. She recently co-wrote and directed Diamond Road, a three part series on the global diamond trade which explores the diverse realities of people whose lives revolve around this gem – from the impoverished miners of Sierra Leone to the wealthy dealers of New York. The series has been broadcast on ZDF/Arte; NHK; TVO; History and Discovery Times among others. It received the 2008 Gemini award for best documentary series. The feature version of Diamond Road premiered at IDFA in 2007. Pahuja’s Bollywood Bound, has screened at numerous film festivals and was widely telecast around the world. It was nominated for a Gemini in 2002. Her print writing has appeared in Elle magazine and various anthologies. She has recently done some writing for filmmakers Deepa Mehta and David Hamilton.
Tribeca’s 2012 film selection, chosen from a total of 5950 submissions, a record number for the Festival. includes feature films from 32 different countries, including 54 World Premieres, 4 International Premieres, 16 North American Premieres, 10 U.S. Premieres and six New York Premieres. A total of 107 directors will be presenting feature works at the Festival, with 33 of these filmmakers presenting their feature directorial debuts. Among these directors, 25 are women. Twenty-six feature film directors are returning TFF filmmakers. In addition to the Competition and Viewpoints categories, the Festival presents feature-length films in the Spotlight, Cinemania and Special screenings sections.
Wednesday, February 29, 2012
“Saving Face” wins at the 84th Academy Awards
‘Saving Face’, co-directed by Sharmeen Obaid-Chinoy and Daniel Junge, brought home the first Oscar for Pakistan by winning in the Best Documentary (Short Subject) category at the 84th Annual Academy Awards held at the Hollywood & Highland Center. It is based on the appalling incidents of acid attacks on women in Pakistan.
Incidentally, one of the producers of the film is Sabiha Sumar, well known in India, who directed the film “Khamosh Pani” starring Kirron Kher, which won the Golden Leopard at the Locarno International Film Festival.
‘Saving Face’ tells the stories of two acid-attack survivors: Zakia and Rukhsana, their arduous attempts to bring their assailants to justice, and the charitable work of London-based, Pakistani-born plastic surgeon Dr. Mohammad Jawad, who strives to help these women put this horrific act behind them and move on with their lives. Every year in Pakistan, at least 100 people are victimized by brutal acid attacks. The majority of these are women, and many more cases go unreported. With little or no access to reconstructive surgery, survivors are physically and emotionally scarred, while many reported assailants – typically a husband or someone close to the victim – are let go with minimal punishment from the state. ‘Saving Face’ has been instrumental in raising the punishment for this heinous act to that of life imprisonment.
Directed by Oscar and Emmy-nominated filmmaker Daniel Junge and Emmy-winning Pakistani director Sharmeen Obaid-Chinoy, “Saving Face” takes an intimate look at Pakistani society, illuminating each woman’s personal journey while showing how reformers are tackling their deeply distressing problem. The film chronicles the work of acclaimed British-Pakistani plastic surgeon Dr. Mohammad Jawad, who travels around the country to perform reconstructive surgery on the attacked women and help them move on with their lives. Produced by Davis Coombe, Alison Greenberg, Sabiha Sumar, Daniel Junge and Sharmeen Obaid-Chinoy. The executive producers are Lisa Heller and Sheila Nevins of HBO Documentary Films’. The film will air in the US and Canada on HBO on March 8, 2012. In the UK, it airs in April. It will premiere at the Human Rights Film Festival on March 28th in London.
A former journalist, Sharmeen, walked the red carpet accompanied by her co-director Daniel Junge, and dedicated the win to the women in Pakistan working for change. In her acceptance speech she added, “Don’t give up on your dreams, this is for you!”
Tuesday, February 21, 2012
Indian filmmaker Rajan Khosa’s Gattu was awarded a Special Mention at the recently concluded 62nd Berlinale International Film Festival. This is Rajan Khosa’s second feature film (he made his debut with the well received Dance of the Wind). Gattu has been produced by the Children’s Film Society India.
At the award ceremony held last Saturday, the jury of the Generation Section said in their citation that they saw in Gattu the potential for life’s wonders in every child’s eye; and in particular, the boundless ingenuity of the young rascal was utterly compelling.
Rajan Khosa while accepting the award said, "To children I wish to say - believe in your dreams against all odds and your dreams will come true. And to adults I wish to say - make sure all across the world, no kid remains on the street but in trustful environment of the school."
An elated Rajan Khosa told Film India Worldwide, “It was great to be in Berlin. I represented the Children’s Film Society India at the European Film Market for five days. I had a torrent of interest for the film sales from all territories of the world. I have done verbal negotiations with UK, USA & Canada, Europe, South East Asia and Middle East. All this still needs to be worked upon and inked post Berlinale.”
Gattu: Berlin Film Review
3:26 PM PST 2/18/2012 by Deborah Young
The Bottom Line
A charmer for children that doesn’t whitewash Indian reality, about an illiterate street boy who sneaks into school to fly his kite.
Venue Berlin International Film Festival (Generation KPlus)
Director: Rajan Khosa
Cast: Mohammad Samad, Naresh Kumar
Director Rajan Khosa's drama centers on an illiterate boy who sneaks into school.
Hitting just the right note to interest young audiences without condescending, while adding a hopeful note to the aching problem of India’s street kids, the charming, very original Gattu describes how an illiterate boy obsessed with kite-flying sneaks into school to fly his kite from the roof. The cleverness and determination of the hero are amply rewarded in a well-constructed finale by director Rajan Khosa, making a happy return to feature films after his well-received 1997 debut, Dance of the Wind. The film won a special mention from the young people’s jury at Berlin.
The story is set in the town of Roorkee in the Himalayan foothills, where the naughty orphan Gattu (Mohammad Samad) works on odd jobs for his stern uncle Anees Bahi (Naresh Kumar). Keeping Gattu out of school and forcing him to work with angry threats, the uncle comes off as a tyrannical villain, though this judgment is revised by film’s end.
The enterprising little boy is not above lying and stealing to indulge in the town’s favorite sport of kite-flying. Samad’s incredibly serious eyes fix on the drama in the skies, where the mysterious black kite Kali has, for many years, cut the strings of all her rivals to remain the undefeated champion. No one knows who is flying her, but when Kali appears, the boys hurry to let out their string and launch a challenge. Their colorful CGI kites tremble and spin over the humble terraces of Roorkee.
Gattu is smart enough to realize his only chance to beat Kali is to fly his kite from the highest roof in town, which happens to be the school building. Swiping a blue uniform off a clothesline, he bluffs his way into class, even though he can’t read or write. When he is discovered to be an impostor by his friends Minky, Honey Singh and Manuj, he brilliantly claims to be an undercover detective sent to protect the school against a terrorist attack. Together the four of them set the stage for Gattu’s final duel with the black kite.
Produced by the Children’s Film Society of India, the film is admirable in the way it presents poverty, child labor and the ugly side of life within a basically joyous, upbeat story, making it educational without being shocking. The school song, for instance, fervently sung by the principal and children, celebrates India as a paradise, but the director feels no compunction about showing such locations as a junkyard, a garbage dump and a public toilet. Humor is well-used to balance the protag’s serious look as he sets out to fulfill his dreams.
Venue: Berlin Film Festival (Generation KPlus)
Production companies: Children’s Film Society India, Elephant Eye Productions
Cast: Mohammad Samad, Naresh Kumar
Director: Rajan Khosa
Screenwriters: Ankur Tiwari, K. D. Satyam, Rajan Khosa, Dilip Shukla
Executive producer: Rajan Khosa
Director of photography: Satya Rai Nagpaul
Production designer: Ranjit Singh
Costumes: Shyamalee Sharma
Editor: Antara Lahiri
Music: Sandesh Shandilya
Sales Agent: Children’s Film Society India
No rating, 82 minutes
Monday, February 20, 2012
Film India Worldwide (FIW) is a quarterly edited by Uma da Cunha. It is also the title of the NCPA’s 2012 once a month screening programme.
FIW provides a mirror held up to a globalizing Indian cinema as the world goes global. It goes beyond the Indian Diaspora. It provides a platform for new talent and new stories but always works within a recognisable Indian idiom.
There are filmmakers who have left India to settle elsewhere but whose heart and art are India-centric. It also encompasses filmmakers from elsewhere who come to India’s locations and its reality expressing this through new eyes.
Many are first-time filmmakers. But content, points of view and technical proficiency make good what might otherwise have been lacking in the debut work.
We look forward to seeing you at the Film India Worldwide’s screening for the month of February 2012. The film selected is Shemshook, directed by Siddharth Anand Kumar. It will be screened on Friday, February 24th at 6.30 pm in the NCPA’s Little Theatre.
The director, Siddharth Anand Kumar, will be present for the screening and Q and A session, along with his scriptwriter, Sudip Sharma. The curator of FIW screenings, Uma da Cunha, will also attend.
The synopsis of the film as well as bio-data of the director and screenwriter is given below.
(The Pursuit of Truth)
Siddharth Anand Kumar
Festivals: Cinequest 2010, 2010 Cannes Market, 2010 MAMI (Mumbai)
Semshook is a film about Tenzin (Tenzin Younden), a second generation Tibetan brought up in India. He is gripped by questions of his identity, and decides to journey to his homeland in order to discover himself. It is a journey that takes him across the spectacular landscape of the Himalayas, from Dharamshala through Ladakh and finally into Tibet. Mirroring much of the Buddha’s journey into enlightenment, the protagonist goes through a process of shedding his possessions. Ultimately his ego or his sense of self, finds the ‘truth’. The film deftly moves between travelogue, coming-of-age story, Buddhist philosophy, and the harsh political realities of the life of Tibetan refugees. The film is produced by Francisco Leria under his production house, Elephant Producciones S L. The film’s story/script is by Sudip Sharma and Rahul Singh and the cinematography is by Tribhuvan Babu Sadineni. Its music score, a blend of ethnic Tibetan and Western classical, is scored by Andrew Mackay.
Present for Screening and Q&A
Director Siddharth Anand Kumar and scriptwriter Sudip Sharma
Siddharth Anand Kumar, director
Siddharth Anand Kumar studied filmmaking at Hampshire College, US, completing a thesis film based on T S Elliot´s The Wasteland. Since 1998, he has worked as an editor, cinematographer, writer and director in India. His first job was as assistant director to Mira Nair for Kamasutra (1995). His first film, Let’s Enjoy released in 2004. He has since helmed various TV shows such as Left Right Left, Champ, Love Story for major Indian broadcasters. Semshook is his second feature film
Sudip Sharma, scriptwriter
Sudip Sharma is an MBA from the Indian Institute of Management, Ahmedabad. He worked for a while in the corporate sector before realising his calling for screenwriting. He believes in balancing his writing work between commercial Bollywood films and parallel indie cinema. For his work in Semshook, he was nominated for Best Screenplay at the New York Indian Film Festival. His next release will be the Abhay Deol starrer Rock the shaadi, touted as India's first zombie comedy. Besides screenwriting, Sudip is associated with a Mumbai-based advertising agency in the capacity of a Brand Strategist.
Thursday, February 16, 2012
The Best Thing About You Is You!
Published by Hay House India
228 Pages Rupees 399 (hardbound)
Acclaimed actor of Bollywood Anupam Kher plays a new role as the author of the book, The Best Thing About You Is You! A well presented hard-bound book, it has a picture of a smiling Kher on the cover against a black background. The book opens with a preface written by him. Using examples from his own life and experiences, he provides a handy guide for self-discovery and peace of mind in these chaotic times. Starting on the premise, “We are all unhappy”, his answer to the negativity in life is a positive outlook. The book covers his views on several subjects such as anger, thought control, stress, dealing with relationships and most of all, realizing the power within oneself - discovering the best thing in life - yourself. The book is divided into50 short, easy-to-read chapters. The versatile actor has a repertoire of over 450 films in a career spanning more than 25 years. He is a reputed theatre actor and his one-man play, ‘Kuchh Bhi Ho Sakta Hai' has been acclaimed as a unique experiment. Winner of several national and international awards, he runs the acting school, Actor Prepares.
Published by Harper-Collins
279 Pages Rupees 250 (paperback)
Opening Night tells the story of Naiya Kapur, a Princeton University graduate who comes to Mumbai to chase the big Indian dream of Bollywood, a search for fame, fortune and fun in the new India. The book follows her as she navigates through the labyrinthine lanes of Mumbai, where lines are meant to be crossed. As she battles her demons and tries to deal with her increasingly tangled life, the stage is set for high drama, and her ‘Opening Night’.
The author, Diksha Basu is a student of economics. But she decided to move to Mumbai for an acting career. Four years, two plays, an English film and a TV show later, she finds herself working as a full-time author and enjoying every minute of it. Basu’s debut novel, Opening Night, was launched recently at the bookstore Crossword, Juhu, Mumbai, by author Chetan Bhagat. Basu has already moved on and is working on her second book.
Travels of Bollywood Cinema – From Bombay to LA
Edited by Anjali Gera Roy and
Chua Beng Hunt
Published by Oxford University Press
Pages 352 `795 (hardbound)
Bringing together essays by eminent scholars of anthropology, history, and cultural media, communication and film studies, this volume shows that Bollywood cinema has always crossed borders and boundaries. The book argues that Bollywood has had a century-long history of travelling to the British Malaya, Fiji, Guyana, Trinidad, Mauritius, East and South Africa with the old diasporas, and with and without the new diasporas to the former USSR, West Asia, the UK, the US, Canada and Australia. It looks at the meaning of nation, diaspora, home and identity in cinematic texts and contexts, and examines the ways in which localities are produced in the new global process by broadly addressing nationalism, transnationalism, regionalism, politics and aesthetics, and spectatorship and viewing context. Anjali Gera Roy is a Professor in the Department of Humanities and Social Sciences, IIT Kharagpur and a Senior Research Fellow, Asia Research Institute, National University of Singapore. Chua Beng Huat is concurrently Leader, Cultural Studies in Asia Research Cluster, Convenor, PhD Programme in Cultural Studies in Asia, and Professor, Department of Sociology, National University of Singapore.
Niranjan Pal: A Forgotten Legend & Such is Life - An Autobiography by Niranjan Pal
Edited by Kusum Pant Joshi
and Lalit Mohan Joshi
Published by South Asian Cinema Foundation (SACF), London
Pages 261 `900 (India), £15 (UK)
This is a seminal work on Niranjan Pal (1889-1959), brought to UK as a rebellious 19-year-old, by his father, Bipin Chandra Pal. The young man became involved with an anti-British revolutionary crowd but then steered into writing. His plays were performed in the West End. He then moved into film especially after meeting Himansu Rai and this led to writing film scripts for Light of Asia (1925); Shiraz (1928) and A Throw of Dice (1929). Pal returned to India in 1929 and began writing for film journals, continued writing scripts and was the backbone of Bombay Talkies, a film studio which produced great films. The book offers a fascinating narrative of this master storyteller in his own words. It has a section of essays where scholars analyse his life and work. The Foreword is by eminent film scholar/archivist P K Nair. Kusum Pant Joshi is a Social Historian and author of The Kashmiri Pandit – Story of a Community in Exile (1988) and Kaleidoscope – South Asian Women in UK (2001). Lalit Mohan Joshi is a BBC broadcast journalist-turned-film historian and documentary filmmaker. Since the year 2000, he is the Director of South Asian Cinema Foundation, London, and the editor of a thematic journal, South Asian Cinema.
Wednesday, February 15, 2012
by Saibal Chatterjee
If the script pans out the way the Mumbai movie industry’s leading lights would want it to, 2012 will most likely be yet another year dominated by glitzy but flimsy yarns designed for easy mass digestion. But you might ask: what’s the harm if the game hinges on raking in the big bucks?
The path of least resistance is usually paved with box-office gold, but for moviegoers who yearn for creative surprises and breakthroughs, Hindi commercial cinema sans any purpose other than instant profit can get a tad dreary and predictable.
Big-grossing films are no doubt the propulsion the Hindi movie industry needs in the short term. However, in order to climb to the next level, it is imperative for Mumbai cinema to actively and consistently encourage its risk-takers as part of a long-term strategy. Where have all the prospective path-breakers gone? And where pray are the breakout films?
The last major Mumbai film of 2011 was Farhan Akhtar’s sequel to 2006’s Don, which, in turn, was an updated remake of the iconic 1978 Amitabh Bachchan starrer of the same name. Don 2 hit the ground running, as any film top-lined by Shah Rukh Khan is wont to do.
If 2011 ended with a sequel, 2012 opened with a remake. First off the Bollywood blocks this year was Players, Abbas-Mustan’s official– yes, official – remake of the 1969 British action-comedy hit, The Italian Job.
It’s quite another matter that Abhishek Bachchan lacks the chutzpah of a younger Michael Caine and Omi Vaidya, despite his game efforts, is no Benny Hill. Be that as it may, the principal trend for the year has pretty much been set. Expect a flurry of remakes and sequels from mainstream Mumbai in the weeks and months ahead.
Even before January could end, yet another big-budget remake, Agneepath, starring Hrithik Roshan in a role famous for the fact that it fetched Amitabh Bachchan a National Award 22 years ago, opened in India’s multiplexes. Needless to say, it generated quite a media buzz.
Talking of two-decade-old films being reworked for the new generation of movie fans, several other such remakes are being readied for release this year.
A follow-up to Rajkumar Santoshi’s action film Ghayal is on the way. Ghayal was released in the same year as the original Agneepath (1990). The new film, Ghayal Returns, starring the same old Sunny Deol, has been helmed by Rahul Rawail, who, incidentally, crafted the feisty Arjun (1985), one of the most memorable cinematic sign posts of the actor’s chequered career.
Sai Paranjpe’s cult comedy Chashme Buddoor (1981) is being remade by David Dhawan, a director of comedies who seems to have gone off the boil of late if the disastrous Rascals, released in late 2011 to empty movie halls, is anything to go by. The purists are understandably worried!
Many sequels to more recent Bollywood hits like Dabangg, Krrish, Once Upon a Time in Mumbai, Housefull, Rock On, Kya Kool Hai Hum, Race, Jism, Jannat and Raaz, among others, are also in the pipeline. The industry is taking no chances and tried-and-tested franchises are in overwhelming favour.
What’s more, even off-mainstream Hindi films like Abhishek Chaubey’s Ishqiya and Tigmanshu Dhulia’s Saheb Biwi aur Gangster will have sequels this year. Why not? All the big box-office stars of Bollywood have either jumped on to the sequel-making bandwagon or are pursuing projects that are cast in the genre movie mould. Aamir Khan, who backed off-mainstream films like Dhobi Ghat and Delhi Belly in 2011, will be seen on the big screen this year in what is billed as a suspense thriller, Reema Kagti’s Talaash.
While Talaash has the makings of another success story, it also promises to tread a different track. For one, it is a thriller directed by a woman (and one who made the lively Honeymoon Travels Pvt Ltd at that); it is jointly scripted by her and Zoya Akhtar, and it has Aamir Khan in the lead with Kareena Kapoor and Rani Mukherji as co-stars. Talaash has much going for it.
Salman Khan will unleash Ek Tha Tiger, Ajay Devgn has Son of Sardar in the works, Akshay Kumar has all but wrapped up Rowdy Rathore and Saif Ali Khan’s home production, Agent Vinod, a spy thriller, is ready for release. By the end of the year, Shah Rukh, too, will be in the multiplexes again in what is being touted as an epic love story to be directed by Yash Chopra after a long hiatus.
So, it seems to be going pretty well for the mainstream industry. But who is going to serve the cause of Hindi cinema that has something to say? This writer will be keen to check out Anurag Kashyap’s take on rural crime lords in Gangs of Wasseypur, Dibakar Banerjee’s political thriller Shanghai, Tigmanshu Dhulia’s long-awaited Paan Singh Tomar and Gyarah Chalis Ki Last Metro, Sanjay Khanduri’s sequel to his 2007 film Ek Chalis Ki Last Local.
The last-named film, like many other releases in Bollywood’s 2012 line-up, is a sequel. But it could well be a great new ride in the right direction.
(Saibal Chatterjee is a film analyst based in Delhi)
Monday, February 13, 2012
41st Rotterdam International Film Festival
January 25 to February 5, 2012
Two films that link with India feature in Rotterdam’s Bright Future category, which showcases the first film of the maker and encourages experimental films
India, 2011, 61 mins, colour/Black-White
No dialogue (with English intertitles)
Carnival is set during the Autumn festival of Durga Puja, which each year, for the people in Kolkata and Bengalis elsewhere, transforms every day spaces. Magnificent temporary structures redefine the ways in which the city is navigated. The film, however, is not about any festivity. It charts the unfortunate return of Babu (Shayan Munshi) and his uneasy encounter with his father (Dhritiman Chaterji), as well as his fragmentary past. Carnival brings forth a caricature of daily routine and communicates through a grotesque realism. This experimental film explores the shadows of the ember, as it were, along with the subversive elements of ‘Carnival’. The lower strata of self and life resurge with great vitality and exuberance using oversaturated colour shots of the city, along with well composed black and white stills of the characters. In this film, the cast and crew worked for free. First-time director Madhuja Mukherjee has written the script and handled the film’s production design. The music and sound design is by Prabuddha Banerjee. The cinematography and editing production is by Avik Mukhopadhyay.
Kolkata-based Madhuja Mukherjee is an intermedia author who writes, creates graphic stories, makes experimental films and executes media-installations with archival objects, historical material and junk, collected through her research conducted at various locations of the media industry. She teaches in the Department of Film Studies, Jadavpur University. She has written several scholarly articles and is the author of the book, New Theatres Ltd, The Emblem of Art, The Picture of Success, 2009, National Film Archive of India, Pune. Her edited anthology, Voices and Verses of the Talking Stars by the School of Women’s Studies, Jadavpur University and Stree, Kolkata, is under publication. Mukherjee has written screenplays for international projects including that of Anup Singh’s Qissa (produced by Heimat Film, Germany, Augustus House, The Netherlands, Cine-Sud, France and NFDC, India) which is under production. Carnival is her first feature film as director.
Shikarawala - Valley of Saints
Written, directed by Musa Syeed
India/USA, 82 mins, colour, English and Kashmiri
Festivals: Competition, 2012 Sundance Film Festival
The story follows the young, working-class boatman Gulzar during a violent summer in the beautiful Kashmir valley where he is hatching his escape. With the meagre tips he earns ferrying tourists on Dal Lake, Gulzar and journalist friend Afzal (who lost his father in 1993 when a Border Security Force unit killed 55 Kashmiri civilians in Sopore) finally save enough money to run away. But a massive protest that throws the entire valley under military curfew makes them retreat to the safety of Gulzar’s home on Dal lake. Forced to bide their time, they make the most of it, singing songs and causing trouble on the empty lake, until they discover a young woman, Asifa, also trapped, but by choice. A Kashmiri-American, she is braving the curfew to complete her environmental research on the polluted lake. Bored and curious to find out more about this strange but pretty girl, Gulzar and Afzal offer to show her around in their old boat. Immediately, a rivalry forms between Gulzar and Afzal as they compete for Asifa’s attention. Writer/director/editor Musa Syeed also acts in the film as a protester. Lead actor Gulzar Bhat is an actual boatman on Dal Lake. Mohomad Ali Sofi plays Afzal and Neelofar Hamid is Asifa. Nicholas Bruckman is the producer. The music is by Mubashir Mohi-ud-Din (he and his brother Mohsin, fellow Kashmiri-Americans, have an indie rock band called ‘Zerobridge’ based in New York).
Twenty-seven-year-old writer/director Musa Syeed, a New Yorker of Kashmiri origin, received the Alfred P Sloan Feature Film Production Award for the screenplay of Valley of Saints. Syeed also received a New York Foundation for the Arts fellowship and a National Geographic All Roads grant and was named one of the ‘10 to Watch' in 2010 by The Independent. He recently completed the feature documentary, 30 Mosques (on two young American Muslims journeying to 30 mosques in 30 days across America). He co-produced two short documentaries with his producer Yoni Brook: Bronx Princess (on a New York teenager reuniting with her royal father in Africa) which was in competition at the International Documentary Festival Amsterdam and the Berlin International Film Festival, and A Son's Sacrifice (about a father and son who run a halal slaughterhouse in New York) which won Best Documentary Short at the Tribeca Film Festival and the 2007 International Documentary Association Awards. He co-directed The Calling, a documentary mini-series following young people training to become religious leaders in America. Musa also works as an educator in schools, community centres and prisons. He is an alumnus of New York University’s Tisch School of the Arts and the Middle Eastern & Islamic Studies Department.
Café Regular, Cairo (featuring in Spectrum Shorts)
Direction, script by Ritesh Batra
2011, Egypt/India, 11 mins, Arabic, HD, colour
A relationship is tested in a crowded café in Cairo. A young couple finds itself speaking about things they have never spoken about before, as they try to find their own place in a changing world. The director says, “The players in our story, Mai Abozeed and Alaa Ezzat, are playing themselves in the film. So to a degree, the film is an extension of their real lives. I had the idea for this story before I went to Cairo, but I was fortunate to be influenced by the city and its people to know that as a storyteller, my job was not to impose my conception of Cairo on the story, but to step back and allow the real to marry the fiction we were creating, and even to discover it. The story was enriched by selecting actors or rather non-actors who would play themselves on screen and by shooting it in a live Café in Cairo with real customers and the business of daily life in the background. I had the wonderful opportunity to experience this story come to life with the symphony of the city in the background. In crafting this film, our primary job was to keep it as simple and unadulterated as possible and not interfere with the interplay between the fiction on screen and the reality in the background.” Produced by Alaa Mosbah, Wajdi Elian and Guneet Monga, the director of photography is Islam Abdel Samea and editing is by Wajdi Elian.
(Photographs, Videos, Acrylic, Drawings, Sound Motifs)
Venue: Nieuwe Oogst as part of the ‘Regained, Renewed' event - being presented alongside the restored films of Melies, Scorsese's Hugo and other masters
Kolkata-based Madhuja Mukherjee's “Crumbled Papers, Fragments of Cinema" is an artist-historian’s attempt to draw upon the cultural memory of cinemas, the fragments which lie outside the films per se, and connect it with various cultural practices including publicity images. It marks an effort to make lost films available to the public, historicize it, and emphasize the theme of ‘romance and cinema’. By using old publicity material, videos and sound motifs, and intersecting it with personal notes, shiny mirror-like surfaces, obscure objects etc, Crumbled Papers creates an interactive environment where the participant/observer may enter into a reverie of sorts to recall personal stories of love, romance and sensuality associated with cinema.
“The idea of audio-visual installations came up from my diverse experiences of writing on films, making films, constantly groping with archival material, interest in history of art, and continuous conversations with other artists in my attempt to mix mediums, challenge disciplines, and produce graphic stories, image essays, videos etc. Moreover, over the years, my engagement with cinema has been connected to its historical significance and the narratives of its making as well as its distribution-exhibition networks. Two media installations emerged from this process, ‘Theatres of Spectacle' (photographs, video, vinyl, acrylic, celluloid strips, drawings and writings) in February 2011; the video ‘Flaneuse' (approximately 28 mins) presented the modes in which women encounter popular melodramas, and connected it with posters and feminist animations. Thereafter, ‘Interiority' (vinyl, acrylic, video, photographs, found objects, drawings) in April, 2011,” says Mukherjee.
Saturday, February 11, 2012
12th Mumbai International Film Festival for Documentary, Short and Animation Films
February 3 – 9, 2012
Special Mention - Indian Critic Jury Award Certificate
Anthony Gonsalves - The Music Legend (India)
Directed by Ashok Rane
Producers: Shreekant Joshi -Mrinalini
Indian Critic Jury Award Certificate
Good Morning Mumbai
Directed and Produced by Rajesh Thakare and Troy Vasanth
Indian Documentary Producers' Association (IDPA)
Best Student Film Award plus Rupees 1,00,000/-
Anoop Sathyan’s A Dream Called America
Produced by National Institute of Design, Ahmedabad
Best Film of the Festival Award (For Producer Only)
plus Rupees 2,00,000/-
Tuhinabha Majumdar’s Midnight Bioscope
Producer: Rupashi Bangla
Indian Jury Award plus Rupees 2,50,000/-
Prantik Basu’s One, Two
Producer: Film and Television Institute of India, Pune
Special Mention – Animation Certificate
Unni ( A Plight of a Kid and Many Others)
Directed by Mayur, Ranjitha, Abhimanyu, Saheb, Abhilash
Producer: National Institute of Design, Ahmedabad
Second Best Animation Film - Silver Conch + Rupees 2,50,000/-
Good Morning Mumbai
Produced and Directed by Rajesh Thakare and Troy Vasanth
Best Animation Film - Golden Conch + Rupees 5,00,000/-
Aditi Chitre’s Journey to Nagaland
Produced by Rajiv Mehrotra, Public Broadcasting Service Trust
Special Mention – Fiction Certificate
Directed by Kunal Suresh Walve
Producerr: Suresh R. Walve
Special Mention – Fiction Certificate
Rajiv Mohite’s Aaliya
Produced by Amarjeet Amle
Second Best Fiction Film (Upto 70 Mins.)
Silver Conch + Rupees 2,50,000/-
The Black Hole
Directed and Produced by Tanmayee Deo and Dnyanesh Zoting
Best Fiction Film (Upto 70 Mins.)
Golden Conch + Rupees 5,00,000/-
Tuhinabha Majumdar’s Midnight Bioscope
Produced by Rupashi Bangla
Special Mention – Documentary Certificate
Amlan Dutta’s One Day Ahead of Democracy
Produced by Anirban Dutta
Second Best Documentary Film
Silver Conch + Rupees 2,50,000/-
Ashvin Kumar ‘s Inshallah, Football
Produced by Ashwin Kumar and Giulia Achilli
Best Documentary Film
Golden Conch + Rupees. 5,00,000/-
At the Stairs
Produced and Directed by Rajesh S Jala
International Critic Jury Award - Certificate
by Kyaw Kyaw Oo and Maung Myint Aung’s
Nargis - when time stopped breathing (Myanmar)
Produced by Claire Franklin
Best Debut Film of a Director
Dadasaheb Phalke Chitranagari – A Govt. of Maharashtra Undertaking
Trophy + Rupees 1 00 000/
Directed and Produced by Pankaj Johar
Best Film of the Festival Award (for producer only)
plus Rupees Rs.2,00,000/-
Jai Bhim Comrade
Directed and Produced by Anand Patwardhan
International Jury Award ( shared)
Mamta Murthy’s Fried fish, Chicken Soup
Produced by Majlis
Moni Bency JJ ’s Mahasweta Devi Close Up
Produced by Suvendu Chatterjee, Drik
Second Best Animation Film
Silver Conch + Rs. 2,50,000/-
Susan Danta and Wendy Chandler’s Heirlooms (Australia)
Produced by Wendy Chandler
Best Animation Film
Golden Conch + Rupees 5,00,000/-
Anand Tharaney and Kurnal Rawat’s Prince
Produced by Grandmother India Design Pvt Ltd
Second Best Fiction Film (upto 70 Mins.)
Silver Conch + Rupees .2,50,000/- each
Wong Wai-Kit The Decisive Moment (Hong Kong)
Produced by Hui chi-kin
Best Fiction Film (upto 70 Mins.)
Golden Conch + Rupees 5,00,000/-
Alexandru Mavrodineanu’s Music In the Blood (Romania)
Producer by Catalin Mitulescu
Second Best Documentary Film (above 40 Mins.) - Shared
Silver Conch + Rupees 1,25,000/- each
Nirmal Chander’s Dreaming Taj Mahal (India)
Olga Maurina, Anna Kapkina’s Home (Russia)
Produced by Anna Kapkina and Samsara Studios
Best Documentary Film (above 40 Mins.)
Golden Conch + Rupees. 5,00,000/-
Kim Longinotto’s Pink Saris (United Kingdom)
Produced by Amber Latif and Girijashanker Vohra
Second Best Documentary Film (upto 40 mins.)
Silver Conch + Rupees.2,50,000/-
Shape of the Shapeless (USA)
Produced and Directed by Jayan Cherian
Best Documentary Film (upto 40 Mins.)
Golden Conch + Rupees 5,00,000/-
I am Your Poet (India)
Produced and Directed Nitin Kumar