Thursday August 16, 2018

Actor Naseeruddin Shah Says, 50 Years From Now Cinema Halls Would Be Found In Museums

Naseeruddin can now be seen in the digital show "Zero KMS" on ZEE5.

I think he is pretty unique filmmaker
Naseeruddin says he has been very fascinated by director Qaushiq Mukherjee's films. Wikimedia

“The future comprises the computer and web. I think within 50 years, cinema halls will only be in museums. People will be taken around and shown, where people used to sit, where they used to buy popcorn from, and where films used to be screened,” Naseeruddin said in a statement.

in which his son acted
The first film of Qaushiq Mukherjee that Naseeruddin Shash saw was ‘Tasher Desh’. Wikimedia

“And people from that time would be in awe that thousands came together to watch a film. It’s a tragedy, films are a communal experience, more and more of it is becoming personal.”

He joked that maybe in 100 years, children will be born with telephones implanted in their heads.

“I won’t be around to see it, but I really miss the thrill of going to a crowded cinema and watching a movie, immaterial if the seats were comfortable or not. I grew up in places like Meerut, Alibaug and Nanital, where you sat on wooden seats and used to buy 40 paise tickets and watch the movie from the first row, which gave you a strain on your neck.

“But the joy of doing that cannot be replicated by watching a movie on your mobile screen.”

He can now be seen in the digital show “Zero KMS” on ZEE5.

“I have been very fascinated by director Qaushiq Mukherjee’s films. I think he is pretty unique filmmaker. He makes very hitting, cutting edge, whimsical and eccentric cinema and I personally like eccentric people.

“The first film of Qaushiq Mukherjee that I saw was ‘Tasher Desh’, in which my son acted and the way he has shot the play by Rabindrath Tagore is a completely unique take on it.

Read More: The Trailer of Rajinikanth’s new Film ‘Kaala’ Shows He Is Serious About Politics

“I have also seen ‘Ludo’ and ‘Garbage’, which I cannot say are perfect movies, but what he is attempting to do is to find new cinema language. And I was very interested in seeing what Qaushiq would do with an action thriller, like ‘Zero KMS’. The part that he offered me was quite interesting too,” he said.

The series, set in Goa, is on human trafficking. (IANS)

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‘A Fantastic Woman’ Could Have Been Paramount in Portraying a Transgender Woman’s Struggle

"A Fantastic Woman" fails to carry us along in its protagonist's tough journey from bereavement to isolation to confrontation to settlement. Marina can't wait to get out of it.

Daniella Vega
'A fantastic Women' seems stretched out. Flickr

Film: “A Fantastic Woman” (Spanish, with English Subtitles, based on a transgender woman); Director: Sebastian Lelio; Starring: Daniela Vega; Rating: 1/2 (2 and a half stars)

“A Fantastic Woman” could have been penetrating portrait of a transgender woman’s struggle for dignity after her middle-aged lover suddenly dies on her.

Marina (played with consummate sensitivity by Daniela Vega) never quite recovers from the traumatic shock. Neither does the film. It quickly goes downhill from the point of tragedy, building what looks like a shell-shocked narrative in-sync with the stupor that falls over Daniela’s soul after Orlando (Francisco Reyes) passes away.

The ensuing trauma of a ‘woman’ who is unacceptable to society for her gender and status in the life of the man she loved, is brought out like a dentist extracting rotten teeth. It is a graceless situation.And director Sebastian Lelio goes with the frown, rendering every crease in Daniela’s disheveled existence in shades of black and fright.

Daniela Vega
Spanish makes the dialogue-heavy sequences, makes it seem unnecessarily stretched-out and verbose. Flickr

Daniela’s dilemma is so in-your-face, it hardly needed to be affirmed so strongly by the narrative. Her humiliation is shown in scenes in the hospital and at the police station. And we know what happens to the mistress specially when she is gender-challenged. But Marina’s behaviour post the tragedy eschews empathy. She frets, fumes, snarls and at one point even jumps on to the car of her deceased lover’s family to bounce up and down.

By this point the edgy narrative begins to look uneasily unfocused.

Perhaps Marina’s unconventional methods of protest are a cultural things. Maybe in Chile, the conventions of bereavement are played out at a pitch that seems fairly bizarre to us. Also, the fact that the film is in Spanish makes the dialogue-heavy sequences, such as the one where Marina is confronted by Orlando’s wife in a car basement, seems unnecessarily stretched-out and verbose.

Also Read: Eating diorder can be treated in transgenders

“A Fantastic Woman” fails to carry us along in its protagonist’s tough journey from bereavement to isolation to confrontation to settlement. Marina can’t wait to get out of it.

Neither can we. (IANS)