Journal of Indian Cinema

Vol. 1. Iss. 10 | October 2019

Film Critics Circle of India

Society, cinema, & the critic

Anirban Lahiri | Oct 15

The critic tries to look at the ideology – its origin, cycles, products, reformation…

… This year’s edition of the Jio MAMI Mumbai Film Festival with Star would be attended by an increased number of cineastes. What do they expect from the package of films? Are they critics, victims or perpetrators? What do most of them choose to be?

Mumbai is the film city. Mumbai means Bollywood to many Indians. Bollywood means struggle for most insiders. Struggle for what? To make another boy-meets-girl or Don-blasts-the-world flick? Talvar (2015) is a satisfactorily high point of functional creativity for most industry insiders here. Nobody is addressing our, their, contemporary existence. Is there any check on how the narration styles of Bollywood, and of other Indian cinemas, changed over the last fifteen years?

Did anything change at all? A change in production codes and logistics may not result in big changes to a film, and its reception.

What does the audience want? Is the audience a homogeneous one? What do different audiences want? Why do they want that? Who refurbishes demands in their mind?

What is the role of the critic today?

read ESSAY

 

A brief history of Konkani cinema

Gautam Kaul | Oct 15

Locating the International Film Festival of India in Goa had one uncharted effect. It created an interest in the search for the roots of Konkani Cinema. Stray efforts were now made by film enthusiasts to find out the past of Konkani Cinema, its related roots, and the people who crowded it or represented the area in other language cinemas in the country.

read HISTORY

A pale, placid take on female empowerment

S Viswanath | Oct 15

Women centric films, in the garb of empowerment, have become the new normal in Bollywood lately. Focusing on issues that women negotiate in today’s times, these films seek to provide a new ideological template by which they seek audiences’ indulgence in the dramaturgy they unspool through their women protagonists.

Taking incidents from real life, and providing fictionalised construct to them, more so, to burnish them with enough visual “oomph” to woo the gullible and not so “literate” cinema audiences, these film makers are doing grave injustice to women folk.

read FILM REVIEW

Film review - short Film review
Asuran | Vetri Maaran     Baradwaj Rangan
Bombay Rose | Gitanjali Rao     Tanul Thakur
Diego Maradona | Asif Kapadia     Johnson Thomas
Downtown Abbey | Michael Engler     Johnson Thomas
Gemini Man | Ang Lee     Johnson Thomas
Hustlers | Lorene Scafaria     MK Raghavendra
Jallikattu | Lijo Jose Pellissery     Baradwaj Rangan
Joker | Todd Phillips     Johnson Thomas
Joker | Todd Phillips     MK Raghavendra
Joker | Todd Phillips     Rahul Desai
Joker | Todd Phillips     Saibal Chatterjee
Joker | Todd Phillips     Tanul Thakur
Laal Kaptaan | Navdeep Singh     Rahul Desai
Laal Kaptaan | Navdeep Singh     Saibal Chatterjee
Laal Kaptaan | Navdeep Singh     Tanul Thakur
Maadathy | Leena Manimekalai     Baradwaj Rangan
Maleficent: Mistress Of Evil     Johnson Thomas
Moothon | Geetu Mohandas     Baradwaj Rangan
Sye Raa Narasimha Reddy | Surender Reddy     Baradwaj Rangan
Sye Raa Narasimha Reddy | Surender Reddy     Saibal Chatterjee
The Sky is Pink | Shonali Bose     MK Raghavendra
The Sky is Pink | Shonali Bose     Rahul Desai
The Sky is Pink | Shonali Bose     Saibal Chatterjee
The Sky is Pink | Shonali Bose     Sukanya Verma
The Sky is Pink | Shonali Bose     Tanul Thakur
War | Siddharth Anand     Baradwaj Rangan
War | Siddharth Anand     Rahul Desai
War | Siddharth Anand     Saibal Chatterjee
War | Siddharth Anand     Sukanya Verma
War | Siddharth Anand     Tanul Thakur
Zombieland 2 | Ruben Fleischer     Johnson Thomas
Festival circuit Feature Book review

 

ALL ISSUES

Journal of Indian Cinema

Vol. 1. Iss. 01–18.

Style Switcher

Predefined Colors

Layout Style


Background Pattern

Pin It on Pinterest

Share This
Skip to toolbar