Friday, April 11, 2014





Busan International Film Festival
 Asian Cinema Fund Team

Call for Submissions!!
Post-Production Fund


For Asian Project
The director should have a non-Korean Asian nationality.
 (If the director is of Asian heritage or a non-Asian residing in Asian country, ACF will judge the eligibility based on other factors of the project.)


The project should contain Asian elements in story, theme, character, and its set-up.


 Fiction feature project shot in HD


 Project that can complete editing and pre-mixing before July, 2014.


 Application materials
Project description form (Please download on ACF website)
Script (English or Korean)
4 copies of DVD of rough cut or fine cut (send to the address below.)


Benefits
*Post-production services (DI, Final Mixing, DCP) provided by post studios in Korea.
*If post-production process occurs in Korea, round-trip economy airfare for two, one hotel room accomodation, and Korean-English translation will be provided by ACF.
 *If a Chinese project is selected, post-production services will be provided by Chinese post studio. In this case, airfare, accomodation and translation will not be provided.


 Busan International Film Festival
 Asian Cinema Fund Team
 address: #1601, GARDEN TOWER, 84 Yulgok-ro, Jongno-gu, Seoul 110-795 Korea
email: acf@biff.kr (fiction) / and@biff.kr (documentary)
 tel: 02-3675-5097


 website: http://acf.biff.kr

Wednesday, April 9, 2014

VISCERAL FILMS HIT THE BULL’S EYE

By UMA DA CUNHA - extract from
Sat Apr 5, 2014
280
Rajat Kapoor’s Ankhon Dekhi and Nagesh Kukunoor’s Lakshmi exemplify the move in mainstream cinema beyond star-driven work to searching analyses of India’s harsh realities. Both films have pushed known and new actors to delving deep into their abilities to express something new and striking. An aside: each director/writer enacts a key role in his film.

Rajat Kapoor’s Ankhon Dekhi, set in Delhi, follows an elderly man who is propelled by the injustices he sees to using his own, quirky methods of rescue and deliverance. Lakshmi, set on the outskirts of Hyderabad, presents the searing story of a pubescent girl kidnapped and sold to a brothel.

Both films are about issues which we, as citizens, should face up to and raise in the campaigns of the coming elections – firstly, to understand and help the elderly to live their lives with dignity within today’s friendless environments and, secondly, to access and change the mindset of the predatory male when it comes to child prostitution and rape.

In Ankhon Dekhi, Sanjay Mishra excels as Raje Bauji, a middle-aged man who calmly copes with a chaotic joint-family and a mundane office job. The hostility to his daughter’s relationship with a young man who is unfairly maligned and humiliated makes him question all social norms. From then on, he breaks free. He decides to adhere to the principle of believing only what his eyes tell him. Inviting ridicule, he is boycotted by his family, friends and employer. Eventually, his tenacity earns him respect and a following.

The film minutely observes the turmoil faced by the head of a family as he confronts escalating urbanism in a world of changing ethics and morals. This incisive film is based on an original script by Rajat Kapoor. Lakshmi, also written by Kukunoor and released in both Hindi and Telugu,is about two Reddy brothers, Chinna and Anna. They procure young girls for Dharam Vilas, a girl’s hostel that camouflages a thriving brothel. Chinna (Nagesh Kukunoor), is the brothel’s uncouth, sadistic wheeler-dealer. Anna (Satish Kaushik) is the more sympathetic manager. 

The film is based on a true story of a 14 year-old girl. She is the winsome and petite Lakshmi, a nuanced debut performance by playback singer Monali Thakur. She is kidnapped and taken to Anna, who she believes at first to be her benefactor. He soon brutally rapes her as an act of propitiation of the Gods suggested by a priest. Lakshmi then finds herself in Dharam Vilas and is swiftly, brutally, systematically inducted into prostitution.

She is determined to escape but is foiled at every turn with increasing violence. Kukunoor dwells at length and repeatedly on Lakshmi’s endless daily ritual of washing herself after servicing one man after another, and coping with the life she has to lead. He looks unflinchingly at every sordid act that Lakshmi is subjected to and the monotony of her existence, man after man, hour after hour. Finally, Lakshmi does escape with the help of an NGO and has the courage to expose the main malefactors.

Kukunoor’s film may seem excessive but is intentionally so. He aims to force the viewer to feel and suffer Lakshmi’s daily pain and degradation. This is why Lakshmi hits us harder than most other films on the subject. With all the protests and reportage of real-life cases of rape, they continue to occur, routinely. There is no remorse or fear. The frightening reports daily of child abuse and the killer-instinct among rapists suggest that all round uproar and condemnation do not touch the conscience of the street predator on the prowl.

Films are becoming more viscerally aimed – perhaps why films like these two may hit the bull’s eye.

Courtesy: http://thecitizen.in/ - India's first independent on-line daily which was launchedion January 27, 2014.reproducing Uma da Cunha's column 

Tuesday, April 8, 2014

Australian writer/director Paul Cox’s latest film…
Force of Destiny

India shoot wrapped on April 6, 2014

Paul Cox has emerged after battling cancer heroically over recent years to embark on the latest venture  in his illustrious career.  The film titled Force of Destiny ended its Australian shoot recently and then moved to Trivandrum, Kerala, for the final nine-day filming.

The Indian actors in the film are Shahana Goswamy (in the lead role of  Maya, Seema Biswas and Mohan Agashe. The Australian cast is led by David Wenham (300, Public Enemies, Lord of the Rings: Two Towers) and  Jacqueline McKenzie (Deep Blue Sea, Divine Secrets of the  Ya-Ya Sisterhood). The film is produced by Mark Patterson with  Maggie Miles as co-producer.

The producer of the Indian segment is Baby Mathew of  Soma  Creation, who already has short films and documentaries, as well as the feature film, Black Forrest.  Mr Mathew hosted a press conference on April 6 in Trivandrum to announce the successful completion of  the shoot of Paul Cox’s latest venture. 

Paul Cox’s film Force of Destiny is a journey of love and hope, of courage and sacrifice, and one man's miraculous salvation through a life-saving liver transplant. Its  story of survival is inspired by Paul Cox's personal experiences and his recent book “Tales From the Cancer Ward”.

Paul Cox is the writer/director of such notable award-winning films as Innocence, Man of Flowers and  A Woman's Tale.

Link below  Dr. Mohan Agashe in Trivandrum on the sets of Paul Cox's film, 'Force of Destiny' https://vimeo.com/91296601 



Monday, April 7, 2014

Another Festival Win for
Nagesh Kukunoor's 'Lakshmi'

Lakshmi wins Outstanding International Feature
at Toronto ReelWorld Film Fest, Washington DC


'Lakshmi', the latest film, in Hindi, from director Nagesh Kukunoor, deals with the bitter phenomenon of human trade and child prostitution behind curtains in rural areas of India. The film has been the official selection at Toronto Reel World, Washington DC, New York Indian Film Festival and the  Melbourne Indian Film Festivals. 'Lakshmi' also won the Audience Award at the Palm Springs Film Festival held in January 2014.

Announced today that it is presenting 79 films and videos during its eight-day festival, being held from April 2 to 6, 2014 in Toronto and from April 11 to 13, 2014 in Markham.

In her opening remarks, Founder and Executive Director Actress Tonya Williams said: “We’re bringing 25 features to screens in Toronto and Markham this year, along with 37 shorts, eight webisodes and nine music videos. Once again we’re introducing audiences to new Canadian talent from the Aboriginal, Asian, Black, Latino, Middle Eastern and South Asian communities.”

The 2014 ReelWorld Film Festival is showcasing 70% Canadian content, and presenting films from Australia, China, Ethiopia, Finland, France, Grenada, Guadeloupe, India, Iraq, Jamaica, New Zealand, Sweden, Switzerland, Thailand, The Philippines, Trinidad and Tobago, Turkey, The United Kingdom, and the USA.