Sathya Saran | July 03
The book delineates the “major political, social and cultural landscapes that inform the cinema of Adoor.” This I believe is quite necessary in a country in which, increasingly, divisions between states, regions and cultural and religious beliefs are getting deeper as people draw tight the strings of their identities to exclude others…
… It traces the development and growth of the maker’s artistic and creative genius that would place him among the cinematic greats of the world… Perhaps it will encourage the re-release of Adoor Gopalakrishnan’s films with subtitles, so a wider audience can view and appreciate them. In Adoor’s films lie a window to a greater understanding of the Indian psyche, which, thanks to this book, might be opened wider.
Premchand | July 18
The arthouse films could never serve as a real parallel. It had to yield to the power play of state-run machineries, the way mainstream films were, and still are, to private production houses…
… Post-1991, the threat of advertisement ban has made criticism near impossible—ads being a major source of revenue. Capital is becoming more arrogant and intolerant towards criticism in any form.
Aparajita Sinha | July 12
Quite a few children made their debut in my father’s films… Dilip Kumar said that he learnt to act from working with my father and that it was the only “school” that he knew… Shyam Benegal once said that he had noticed that the camera in my father’s films was very carefully placed so as to always be on the same level as the actor. It was never used to strip a character of their essential humanity. No clever top shots to make characters look like ants struggling against a hostile environment… “Do you know wherein lies Bimal da’s greatness?” Jagdeep said to us. “He loved the common people. It was for them that he made his films.”
Amborish Roychoudhury | July 20
A shy boy who found it incredibly difficult to talk to people, went up on stage with dozens of heads staring at him, judging him. But there were bright lights on him and he couldn’t see anything. Till he could only see the abyss. He stared at the black void in front of him and started speaking. That one night was to transform that boy completely.
Joy Bimal Roy | July 23
I personally witnessed the magic of those bent fingers when we sat together for the sound design of my film… Shajith’s story is inspirational particularly for handicapped people. His life proves that one’s strength of mind and determination can make the impossible possible.
|Aditi Rao Hydari | actress-singer-dancer|
|Kavithalaya Krishnan | film & TV actor|
|MS Sathyu | film director, stage designer and art director|
|Vijay Subramaniam | director & content head, Amazon Prime Video|
Parthajit Baruah’s documentary Chiaroscuro is now available online.
Rahul Desai, et al discuss Rockstar with the maker of the film, Imtiaz Ali.
REVIEW: 'Breathe: Into the Shadows.'
Rahul Desai reviews the film 'Breathe: Into the Shadows.'
REVIEW: the window, in Ray's cinema
Amitava Nag talks about the window in the cinema of Ray.
INTERVIEW: Fahad Faasil
Baradwaj Rangan et al in conversation with Fahad Faasil.
ASK BR: K. Balachander
Baradwaj Rangan replies to fans on filmmaker K. Balachander.
FILM COMPANION: Fahadh Faasil
Fahadh talks about his performance style, landmark films, and favourite performances.
FIPRESCI-India: Malayalam cinema
Madhu Eravankara, Premchand, et al speak on 'New Malayalam Cinema Appeal Challenges and Prospects.'
FIPRESCI-India: NE cinema
Manoj Barpujari et al speak on 'Cinemas of Northeast India A Resurgence.'
New York Indian Film Festival (NYIFF)
The 2020 edition of NYIFF, conducted in association with the site Movie Saints, is an online one, and runs Jul 24 – Aug 02 | https://nyiff.moviesaints.com/bundle/nyiff2020
Festival director: Aseem Chhabra