Shillong, Feb 28, 2017: Nineteen award-winning films of the Mumbai International Film Festival (MIFF) will be screened here in Meghalaya, said an official on Tuesday.
The objective is to encourage local filmmakers and producers from the region to take their projects on the national and international stage.
The film festival, which would be held from March 1-3 at the premier North Eastern Hill University (NEHU), will feature documentary, short and animation films such as “Fireflies in the Abyss” related to rat-hole coal mining in Meghalaya and “little Terrorist”.
“Our intention to host the film festival here in Meghalaya is to promote local filmmakers and producers from the region to take their projects on the national and international stage,” Films Division Senior Branch Manager Sumay Mukherjee told IANS on Tuesday.
“The northeastern states have so much of potential in the film industry and the filmmakers and producers have exhibited their quality productions at the national and international events,” Mukherjee said.
“We are here to further assist and to encourage student’s especially budding filmmakers from the region to come up in film making, and get the chance to learn,” he added.
NEHU’s department of journalism and mass communication teacher, Kamaljit Chirom said that such a festival would inspire students in filmmaking and help in catching them young.
Besides the 19 award winning films of MIFF, some of the finest cinematic works realised in the past few years throughout the world, including films from countries like Romania, Britain, Australia and India would be screened during the festival.
“Little Terrorist”, which got an Oscar nomination in 2005, would be screened in the non-competitive section of the festival.
Directed by Ashvin Kumar, “Little Terrorist” is the story of a 12-year-old Pakistani Muslim boy who crosses the minefield-strewn border and enters India by mistake.
“Fireflies in the Abyss”, directed by Chandrasekhar Reddy, tells the tale of rat-hole mining in the mineral-rich Jaintia hills. In the hostile pits, men and boys risk their lives every day to scratch coal out of hard rock, burrowing into narrow tunnels, armed with nothing more than a pickaxe and a torch.
Some other fine cinematic works from countries like Romania, Britain and Australia would also feature in the festival.
“On an average, more than 35 countries participate in every edition of the festival which serves as a platform for documentary filmmakers to meet, interact and exchange ideas and such festival attracts the best of films made all over the world on varied subjects,” Mukherjee said. (IANS)
“The Battle of the sexes” starring Emma Stone and Steve Carell talks about issue of gender equality- in both pay disparity and directing opportunity
It’s a great thing for the filmmakers to have what is usually a pretty film-oriented, film-loving audience
The filmmakers say they are expecting a variety of opinions in any one audience at Toronto International Film Festival
New York, USA, September 7, 2017: Few institutions in cinema can match the teeming, overwhelming Toronto International Film Festival as a conversation-starting force. It simply has a lot of movies worth talking about.
And this year, many of the films that will parade down at Toronto International Film Festival’s red carpets will hope to shift the dialogue not just in terms of awards buzz, but in other directions, too: equality in Hollywood; politics in Washington; even about nature of the movies, themselves. At TIFF, expect debate.
That’s what the filmmakers behind “The Battle of the Sexes,” one of the anticipated films heading to Toronto International Film Festival in the coming days, are hoping for. After the festival opens today with another tennis movie, the rivalry drama “Borg/McEnroe,” at Toronto International Film Festival with Jonathan Dayton and Valerie Faris (the directing duo who helmed 2006’s “Little Miss Sunshine”) will premiere their drama about the 1973 showdown between Billie Jean King and Bobby Riggs.
The movie, starring Emma Stone and Steve Carell, holds obvious parallels for a movie industry with its own issues of gender equality, in both pay disparity and directing opportunity. For others, it will recall issues that dominated last year’s U.S. presidential campaign. But “Battle of the Sexes” may surprise moviegoers in its broad sympathies on both sides of the net.
“The one thing we didn’t want to have happened was this polarizing political document,” said Dayton. “Right now, there’s enough of that in the world. We wanted to tell a more personal story and keep it from becoming too binary.”
The filmmakers say they are expecting “a variety of opinions in any one audience” at Toronto International Film Festival.
“It’s really the best way to release a film, at a festival like Telluride or Toronto,” said Faris. “It’s a great way to get the word out about a film. It’s a great thing for the filmmakers to have what is usually a pretty film-oriented, film-loving audience. It gives you hope that they’re still out there.”
The Toronto International Film Festival comes right on the heels of the Venice and Telluride festivals, but the size and scope of Toronto have long made it the centerpiece of the fall movie season. It’s where much of the coming awards season gets handicapped, debated and solidified. It’s also a significant market for new films, and this year several intriguing films — “I, Tonya,” with Margot Robbie as Tonya Harding, and “Hostiles,” a brutal Western with Christian Bale — are on the block.
But most eyes will be on the gala premieres of the fall’s biggest films at Toronto International Film Festival, including Alexander Payne’s “Downsizing,” Guillermo Del Toro’s “The Shape of Water,” George Clooney’s “Suburbicon,” and maybe the most explosive movie of the season, Darren Aronofsky’s mystery-shrouded allegorical thriller “mother!”
It can be a competitive landscape, with dozens of daily movie premieres and their respective parties, all trying to stand out. But several first-time directors may end up stealing the spotlight at Toronto International Film Festival. Greta Gerwig’s “Lady Bird” will sail into Toronto on waves of rave reviews from Telluride. Aaron Sorkin, arguably the top screenwriter in Hollywood for two decades, will present his directorial debut, “Molly’s Game.”
Sorkin didn’t initially anticipate he’d direct his script. But he became, he says, obsessed with the story of Molly Bloom (Jessica Chastain), the former elite skier who was indicted for running a high-stakes poker game in Los Angeles. It’s a potentially career-redefining movie for Sorkin — and he’s appropriately anxious.
“I’d feel the same way if we were launching it in Wyoming. I’m nervous because other than test audiences, this will be the first time people see it,” said Sorkin. “The Toronto Film Festival is a very prestigious place to debut a film, so I’m aware of the company I’m in and what’s expected in the movie. It will be up to others to decide if it delivered.”
“The Disaster Artist” poses a similar turning point for its star and director, James Franco. It’s about the making of what’s widely considered one of the worst movies ever made — the cult favorite “The Room,” by Tommy Wiseau. Franco, who plays Wiseau, considers it a new step for him as a filmmaker and says the film’s parody is laced with affection.
“The characters are outsiders. They are weirdos,” said Franco. “But everybody can relate to having a dream and trying to break into this incredibly hard business.”
The film will premiere to a surely raucous audience at a midnight screening. Franco, who first saw “The Room” with an especially excitable Vancouver audience, expects it to be the perfect debut for his film: “Canadians know how to do ‘The Room.”’
“The Disaster Artist,” which A24 will release in December, might give TIFF what “La La Land” did last year — a happily escapist movie about Hollywood. Other films will tackle less comic real-life tales, including Angelina Jolie’s searing Cambodia drama “First They Killed My Father,” the Winston Churchill biopic “Darkest Hour,” with Gary Oldman; and the documentary “The Final Year,” about the last year of Barack Obama’s administration.
Cameron Bailey, artistic director of the festival, said Trump’s presidency “was not a factor in the films we selected,” though he expects it to color the reception of many.
“Some of them will be received with the current political climate in mind,” said Bailey. “One of the things I think you learn from films like (the Watergate drama) ‘Mark Felt’ and (the Ted Kennedy drama) ‘Chappaquiddick’ and others that we have here is that the process of politics is not a pretty one. It involves a lot of conflicted motives, shall we say.”
And who better to make sense of the current political landscape than Armando Iannucci (“Veep,” “The Thick of It”), the master of rapid-fire political farce. In his second feature film, “The Death of Stalin,” he travels back to 1950s Russia only to find an expectedly timely tale of the madcap machinations of political power.
“It is bizarre, isn’t it? When I started showing it to people in January and February earlier this year, people said it resonated with Trump and Putin and fake news,” said Iannucci. “It is about autocracy. It is about what happens when democracy falls apart and one person decides everything. I’m kind of glad it does resonate now. But am I pleased?” (VOA)
Aug 21, 2017: “Coolie” is the name of the character played by Narad Mahabir in the play directed by Errol Hill titled Man Better Man.
The local play was performed at NAPA in Port of Spain, Trinidad and Tobago in June and an excerpt was staged in August during the premiere of the CARIFESTA festival. Mahabir was given a minor role as the lone Indo-Trinidadian (Indian) villager in the musical which was laced with humorous dialogue, Kalinda dances and calypso songs.
Except for recent plays written and directed by Indians like Victor Edwards, Seeta Persad and Walid Baksh, Indian actors and actresses have been given minor roles or none at all (“invisible”) in “national” theatre and cinema. In this context, The Cutlass is a movie with a difference. And indeed, the tagline of the movie on the cinema poster is “A breakthrough in Caribbean Cinema.”
Surprisingly, Arnold Goindhan is given the lead role (by the non-Indian TeneilleNewallo) as of the kidnapper named “Al” in The Cutlass. Paradoxically, he is given only a fleeting presence in the film’s trailer. He is the only Indian actor and the only character who is Indian, in a movie that is based on crime, race and class.
As a villain, Al is portrayed as an evil Indian Hindu. A calendar painting of the anthropomorphic Hindu god, Lord Hanuman (The Remover of Obstacles) is captured fleetingly on the wall of Al’s forest camp. In the film world of poetic justice The Cutlass, light must overcome darkness, whiteness must overwhelm blackness, and Christianity must conquer Hinduism. The pendant of Virgin Mary in the hands of the white kidnapped victim must overpower Hanuman.
Goindhan is a full-time Indian actor from Malick in Barataria who also sings and plays music. The “Island Movie Blog” on August 11 noted that when Goindhan “keeps his portrayal subtle, he really shines.” The July/August edition of the Caribbean Beat magazine stated that The Cutlass has delivered “compelling performances” to audiences.
The kidnap movie premiered to a sold-out audience at the T&T Film Festival in 2016 received rave reviews. It copped the T&T Film Festival’s Best Trinidad and Tobago Feature Film and People’s Choice awards. The Cutlass was also screened at international film festivals such as the Cannes Film Mart at the Cannes Film Festival in France.
The last time an Indian was chosen for a major role in a local feature film was 43 years ago in 1974. That film was titled Bim which featured Ralph (Anglicised from Rabindranath) Maraj playing the role of Bim/Bheem Sing. Bim was based on the composite life of a notorious assassin, Boysie Singh, and aggressive trade unionist and Hindu leader, Bhadase Sagan Maraj.
As an actor, Ralph Maraj was preceded by Basdeo Panday who became the first Indian in the Caribbean to appear on a big screen in Nine Hours to Rama (1963). The movie was about the assassination of Mahatma Gandhi. Panday also acted in two other British cinematic movies: Man in the Middle (1964) and The Brigand of Kandahar (1965).
But the Indo-Caribbean actor who has earned the honour of starring in the most movies – Hollywood included – is Errol Sitahal. He acted in Tommy Boy (1995), A Little Princess (1995) and Harold & Kumar Go To White Castle (2004).
Valmike Rampersadand Dinesh (“Dino”) Maharaj is rising stars to watch. Originally from Cedros, Dinesh is the lead actor in Moko Jumbie, a new feature film by Indo-Trinidadian-American Vashti Anderson. Moko Jumbie was selected for screening at the 2017 LA Film Festival.
Dinesh acted in the local television series, Westwood Park (1997–2004). His cinematic film credits include portrayals in Klash (1996), The Mystic Masseur (2001) and Jeffrey’s Calypso (2005).
Nadia Nisha Kandhai is the lead actress in the upcoming screen adaptation of the novel, Green Days by the River.
There is a real danger in marginalising Indians in theatre and film when they are in fact the largest ethnic group in T&T according to the 2011 CSO census data. Cultivation theory states that images in the media strongly influence perceptions of the real-world. This theory was developed by communication researchers George Gerbner and Larry Gross of the University of Pennsylvania in 1976.
The Cutlass can transmit the following wrong perceptions of reality: (1) Hinduism is evil, (2) Indians are one percent of the population, (3) there are few Indian actors, (4) Indians constitute the majority of kidnappers, and (5) the majority of kidnapped victims are white.
I presented a research paper in 2005 based on 40 cases of kidnapping in T&T. My findings revealed that 78% of the victims were Indians, and according to the survivors, the overwhelming majority of the kidnappers were Afro ex-police and army strongmen.
Watch Trailer: The Cutlass
The Writer is an anthropologist who has published 11 books
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Manick Sorcar is an Indian American living in Denver
The exceptional laserist and animator has won the Accolade Global Film Competition Award
Manick is the son of the popular and legendary magician P.C Sorcar
Denver. August 2, 2017: Denver-based, Indian-American laserist and animator Manick Sorcar has won the prestigious Award of Merit from The Accolade Global Film Competition for his animation “Beautiful Mess”.
The Accolade recognizes film, television, videography and new media professionals who demonstrate exceptional achievement in craft and creativity, and those who produce standout entertainment or contribute to profound social change.
Sorcar, the eldest son of the legendary magician late P.C. Sorcar, said he was thrilled and gratified at the award, adding: “I take it as a recognition of the challenges I encountered in presenting the short, emotional story using laser as the animating medium and manipulating the strong beam of light as a harmless pencil to draw on a sketchbook.”
This is not the first laser animation of Sorcar that got international recognition. He won the ILDA 2015 Artistic Award for ‘Light Art in Shower Ocean’ in Innovative Application of Laser category from the International Laser Display Association.
Sorcar had also won the ILDA 2007 Artistic Award in Laser Photography category for his laser art “Reflection” and the ILDA Artistic Award for Best Use of Lasers in Live Stage Performance for his “Enlightenment of Buddha”.
According to the Accolade, in winning this award, Sorcar joins the ranks of other high-profile winners of this internationally respected award, including the Oscar winning production of “The Lady in Number Six” by Malcolm Clarke, the talented Dave Bossert of Disney for his short documentary, and “The Tunes Behind The Toons”.