tag:blogger.com,1999:blog-320652272024-02-18T23:57:20.905-08:00Brown CountryBrown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.comBlogger136125tag:blogger.com,1999:blog-32065227.post-6552102155396181522020-04-09T00:12:00.000-07:002020-04-09T00:13:08.728-07:00New test video<div dir="ltr">This is a new video post. Video is attached.<br></div> Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-56810814792241568862020-04-09T00:10:00.000-07:002020-04-09T00:11:10.427-07:00Test video<div dir="ltr">This is a test video post.<br></div> Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-33998282388236630352020-04-09T00:07:00.001-07:002020-04-09T00:07:41.210-07:00Test post<p class="mobile-photo"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0MEsWzmvNIINTB8E7E5eUtEascXlqy3_xize9JBhqlKPP1DyZTzIdMcaHOZm6TqHE2MnhjNHzQRcOT_-AEPxT_FFUy2l7cn8-PI1JgG1Hgc9oIebwHRoWAtfa7apNjxCS5Aho/s1600/Nuggets_Logo-761216.png"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0MEsWzmvNIINTB8E7E5eUtEascXlqy3_xize9JBhqlKPP1DyZTzIdMcaHOZm6TqHE2MnhjNHzQRcOT_-AEPxT_FFUy2l7cn8-PI1JgG1Hgc9oIebwHRoWAtfa7apNjxCS5Aho/s320/Nuggets_Logo-761216.png" border="0" alt="" id="BLOGGER_PHOTO_ID_6813605100408097954" /></a></p><div dir="ltr"><div><br></div><div><br></div><div>This is a test post with a test image.</div><div><br></div><div><br></div></div> Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-41842210044333341472013-12-09T08:31:00.002-08:002013-12-09T08:31:51.000-08:00IFFK 2013 – Day 4<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>Errata</i>, the first film I watched today in IFFK 2013,
is a highly stylized non-linear thriller. The second film, <i>When evening
falls in Bucharest or metabolism</i>, is basically a dialogue about the nuances
of filmmaking. And then I saw a 1953 Jean Renoir film, <i>French Cancan</i>.</div>
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<b>Errata</b></div>
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The film, directed by Iván Vescovo, is not your typical
thriller. It starts with the hero, Ulises, finding one fine morning that his girlfriend
Alma has vanished. His search for her leads to her sister and then to a
bookstore which houses a rare original copy of a famous book written by Jorge
Luis Borges. The book is highly sought after because it contains errata – a
passage written by somebody else, not by Borges. During the search, he learns
more about the book and about Alma. He meets her sister and soon he gets a
phone call demanding ransom to release Alma. How does he find money to release
his lover? Well, in case you have not guessed, by stealing the errata book.</div>
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The director adopts a zig-zag narration. While it is
fast-paced and stylishly shot, it is kind of a random access movie. Time moves
forth and back. Memories appear suddenly and realizations dawn belatedly. And
there is a dream sequence within a dream, like the Borges stories. The film
itself transforms into a kind of errata.</div>
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<b>When evening falls in Bucharest or metabolism</b></div>
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<span class="kno-fv-vq">Corneliu Porumboiu – of <i>Police,
Adjective</i> fame – deals with nuances of film making. In that sense, this is
a movie for moviemakers. The movie deals with many things, including the
meaning of on-screen behavior and director’s and artist’s struggle to come up with
the best scenes. Dialogues on these subjects between a director and his lead
actress form the bulk of the movie. It is more like reading the transcript of a
dialogue than a movie with twists and turns. </span></div>
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<b>French Cancan</b></div>
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When it was released in 1953, Godard described the movie thus:
“Every scene is a cartoon in movement”. It was one of the popular color movies
of that generation. Unfortunately, it has not passed the biggest test of any
art – test of time. Suffice to say that this is not the best of Renoir movies. </div>
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Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-87552729986343381642013-12-08T07:20:00.001-08:002013-12-08T07:25:14.172-08:00IFFK 2013 – Day 3<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Rocket</b></div>
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charming movie that tells the story of a young boy named Ahlo. He was a twin who
supposedly brings bad luck to the others near him, as per the village belief.
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promised land, our hero finds enough space to cause all kinds of mischief in
the company of a girl called Kia. When his mischief crosses the line, they were
ousted from the camp. They ended up in a village which has an abundance of
abandoned bombs and missiles. They reach there just in time for a Rocket
festival, which the village authorities conduct to bring rain. The effervescent
– decides to participate in the dangerous contest.</div>
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his brother and a beautiful Ukraine-born American tourist. He promises to bring
her wild passion fruit and goes into the forest in search of the fruit. And he
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managed to reach Berlin clandestinely. But they face all kinds of troubles in a
foreign country for obtaining residence permit and citizenship. The film
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Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-83154453523104235572013-12-07T08:53:00.002-08:002013-12-07T08:53:20.987-08:00IFFK 2013 Day 2<div dir="ltr" style="text-align: left;" trbidi="on">
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Saw four films today in the IFFK 2013: <i>No Fear, No Die</i>
(a French film directed by Claire Denis), <i>The Missing Picture</i> (a Cambodian
film, directed by <span class="kno-fv-vq">Rithy Panh</span>), <i>An Actor's
Revenge</i> (in the Samurai films category) and <i>The battle of Tabato</i> (a
Competition Section film). Except for the Samurai film, all the films were of
highest standard. The day was marked by unruly and sub-standard crowd behavior
inside the cinema halls, even when the movies were going on. <span style="mso-spacerun: yes;"> </span></div>
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<i>No Fear, No Die </i>narrated the tale of two black emigrants
in France who engage in the unlawful sport of cockfighting. <i>The Missing
Picture</i> is an innovative docu-film about the Pol Pot regime in Cambodia. It’s
part history, part autobiography and full of innovation. The director uses
archival footages shot by the propaganda arm of the government and depicts what
is missing in those official archival visuals – hence the title <i>The missing
picture</i>. What provides a stunning effect to the missing visuals is the use
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<i>The battle of Tabato</i> is another innovative film that
offers the African people’s counter narration to the popular perception about
the continent. The film, shot entirely in black and white, declares its own
battle against the wars in many African countries: “The huge magic is peace”.
It narrates the tale of an old African man who returns to his native country
after spending many years in Europe. He seems to have been possessed by a
spirit, perhaps a creation of his own guilty feeling about betraying his
countrymen and his helplessness in preventing the bloodshed in his country. </div>
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Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-60401822559584922882013-12-06T08:57:00.000-08:002013-12-06T08:57:16.197-08:00IFFK 2013. Day 1<div dir="ltr" style="text-align: left;" trbidi="on">
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I started IFFK 2013 with a splendidly crafted Kazakhstan
movie called <a href="http://en.wikipedia.org/wiki/Harmony_Lessons"><i>Harmony Lessons</i></a>, the debut feature of Emir Baigazin. The
film is set in a rural Khasakh school. It tells the story of the whole mankind and
our current society through Aslam, a mild-mannered and brilliant boy with few
words. <span style="mso-spacerun: yes;"> </span>He is the only boy who is out of
the controlling domain of the school bully, Bolat. There are other protagonists
as well, like Mirsain, who is newly arrived on the school from a city, and Akzhan,
who unlike other girls in the class insists on wearing a headscarf as she
believes it protects her God-given beauty from boys’ gaze.</div>
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Aslam has a scientific bent of mind and a concrete belief in
rights and wrongs. The film opens with the scenes of Aslam slicing a goat into pieces.
He asks his grandmother afterwards. “Can anybody survive without meat?” She
replies, “Perhaps in heaven”.</div>
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Bolat, on the other hand, is a typical school bully. He has
no regard for others. He spreads terror in the student’s hearts with merciless punishments
and villainous manners. He and his friends make Aslam drink water from a cup that
was used to wash the genitals of other students during a medical camp. Since
then, Aslam vomits whenever he sees a cup. Bolat asks other students to isolate
Aslam and warns of severe consequences if they maintain friendship with him.</div>
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Later we realize that Bolat is just a pawn in the hands of
some bigger bullies outside the school, some of them are even religious
fundamentalists. </div>
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<br /></div>
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The film meanders along for some time, sketching the
character profiles of Aslam and Bolat. The teachers’ lecture provides some kind
of verbal humor. The science teacher, while teaching different forms of energy,
describes money as the life’s source of energy. His reasoning: “We need food
for power. What gives us food? Money”.</div>
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This is in stark contrast with the deadpan seriousness of
Aslam about the studies. When he solves a difficult physics problem, the
teacher congratulates him and asks him to participate in local science
competitions. Aslam curtly retorts: “Is physics a sport”.</div>
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In another instance, a scene showing Bolat’s acts of brutal
violence is immediately followed by the lectures on Mahatma Gandhi. </div>
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<br /></div>
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The film gathers pace when Mirsain joins them. He is
uncomfortable with Bolat’s bullying all along, but he gradually accepts it
after an initial round of physical fight. But Aslam is kind of waging an ideological
war, and he is more serious about it. We see Aslam making a crude gun, using
two pipes and gown powder. One day, it happens: Somebody kills Bolat. Aslam and
Mirsain are the prime suspects. Both deny the accusations. What follows is
heartless interrogation from police officers, leading to the film’s powerful
climax.</div>
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The highlight of the final sequences is the scene in which
Aslam sitting on the side of a picturesque lake and Bolat and Mirsain calling
him from the other bank. A goat navigates the lake smoothly. Aslam gets back to
life. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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Emir Baigazin has mostly used static shots, as if trying to
establish that he is also just another viewer of the lives of his characters. The
amateur actors produced some incredible performances. The film at times reminds
you of William Golding’s <i>The Lord of Flies</i>, which also captures children’s
cruelty and lets it reflect on the unjust society and the world at large. </div>
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<br /></div>
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Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com1tag:blogger.com,1999:blog-32065227.post-3354375808644616322011-12-13T18:13:00.001-08:002013-08-14T03:59:50.737-07:00IFFK 2011 – Day 5<div dir="ltr" style="text-align: left;" trbidi="on">
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<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
I missed IFFK yesterday. But today I saw three movies, all Competition Section films: <i>The Cat Vanishes</i>, an Argentine film directed by Carlos Sorin, <i>Body</i>, a Turkish film directed by Mustafa Nuri (which got rave reviews from the local press in Malayalam), and <i>The Colours of the Mountains</i>, a Colombian film directed by Carlos César Arbeláez. </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<b>The Cat Vanishes</b></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
It is kind of a psychological drama played out mostly in a single house. It revolves around a professor, who has just been discharged from a psychological clinic, and his wife, who has an eerie feeling that all is not well with her husband even after the rehabilitation. He had been legally forced to undergo the treatment after he had acted violently towards one of his students and his his wife, whom he suspected of stealing his research work. </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
All the action unfolds in the first three days after the visit. The wife's suspicion about her husband's mental health strengthens when she saw their pet cat reacting violently to him. But he is at his usual self, few words and all sarcasm. The tension grows when the cat disappears. The climax is superbly conceived and executed. </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
The director employs mostly close-up shots and succeeds in bring out the somewhat hidden tension between the professor and his wife. The actors played the roles of the professor and his wife, Luis Luque and Beatriz Spelzini, respectively, have given nuanced performances, without going overboard. The climax is stunning, though many viewers were seen asking the others, what was it? </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<b>Body</b></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Mustafa Nuri, the director of the film, has become a small celebrity in the Malayalam media after his charmed speeches and the film. There were great reviews about the film in almost all newspapers and TV channels. Predictably, a huge crowd assembled in New Theatre before the screening of the movie. I somehow managed to enter the theatre, thanks to reservation and my rugby skills. But I have to say the film was a disappointment. Perhaps the high expectations are to blame.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
The film narrates the story of how almost every character in the movie is affected by his or her body. The main protagonists are a 40-something ex-porn actress and her teenaged lover. There is nothing much to write about the story of the film: it's kind of boy meets an old woman. They meet at the shoot of a failed porn film, arranged by her ex-lover, who wants to make some money through porn industry. There are other characters involved too. The boy's mother and sister, both are overweight, his friend, who is a fitness fanatic, but dies at the age of 20. The porn film director emerges as the most interesting character in the movie. </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<b>The Colours of the Mountains</b></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
This is yet another anti-war film from Columbia, seen through the eyes of a 10-year old boy. The movie is set in a mountainous village which is about to be wrecked by the civil war. Villagers are fearful of both the guerillas and the army. </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
The boy owns a football and plays in the field along with his friends. He gets a brand new football on his 10<sup>th</sup> birthday. One of his friends kicks the ball through the slope to the valley. They are about to take the ball. Then a pig ran through the place, and sudden explosion results. The pig has stepped into a land mine. The elder people who gathered there prohibit the kids from playing there. The boy wants to take the ball and nobody allows him. The rest of the film narrates the boys attempts to take the ball while the rest of the village tries to flee the place because of the civil war.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
The good thing about the movie is that it does not take sides. It provides a chillingly emotionless narrative. The pace is slow, much like the neorealistic films in Malayalam. </div>
</div>
Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com1tag:blogger.com,1999:blog-32065227.post-45088312526354842292011-12-11T18:41:00.000-08:002011-12-11T18:41:24.852-08:00IFFK 2011 Day 3<div dir="ltr" style="text-align: left;" trbidi="on"> <br />
<br />
<div style="margin-bottom: 0in;">I saw three movies today. I had planned to watch the Competition Section films, but changed mind at the last moment. Instead, I watched <i>Daddy</i>, a Croatian film directed by Dalobar Matanic, <i>Come As You Are</i> (or Hasta la Vista), a Belgian film directed by Geoffrey Enthoven, and <i>Two Escobars</i>, a soccer documentary.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"><b>Daddy</b></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"><i>Daddy</i> is psychological drama set in a hilly village in Croatia during winter. Two daughters are going to meet their father, who left them and their mother many years ago. They are accompanied by the lover of the elder sister. They find no one in the house, but they decide to wait. The younger daughter wants to leave, but stay on as others decide to stay there for that night. They drink, eat, and sleep, but still no trace of the father. The next morning the father comes. He shows no affection to them. While the elder sister tries to ease out things, the younger one returns the compliment. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Things become complicated when the elder sister goes out with her father and tries, though in vain, to persuade him for a reunion with the family. In the meantime, the younger sister, frustrated at being neglected, tries to seduce the lover of her sister. In the night they make love. The father sees it. He cautions the young man the next morning. The young man accuses him of neglecting his family. In a sudden rage, he kills the young man in front of the sisters. The sisters run away and hide in another building. Things become more gruesome in the end.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">The storyline is good, the atmosphere is isolated, yet splendid. There is mounting tension between the characters. But still the film does not have the gripping mood that great films of this genre have. Somehow, it fails to gain enough spark and come alive. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"><b>Come As You Are</b></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">This is a light comedy about three handicapped people. Two of them are confined to wheel chairs (one of them is a cancer patient too) and the third one is partially blind. But they are after what most men in the universe are after: wine and women. They plan to go for a wine trip, but the real destination of their trip is a high class brothel in Spain which they come across on the Internet. Their family members refuse the idea, but they manage to hire a driver-cum-nurse and start the journey. The film narrates the incidents in their journey. The finally make it to the brothel, leading to a poignant climax.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"><b>Two Escobars</b></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">The fist one is Andrea Escobar, the footballer who was killed for scoring an own goal in the World Cup. The second is Pablo Escobar, the notorious drug mafia lord in Columbia, who was glorified in News of Kidnapping, a novel by Gabriel Garcia Marquez. The documentary shows how the lives, and deaths, of these two were connected, and how soccer influenced their lives. The documentary has a fast-paced narrative, laced with some high voltage action from the soccer field.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Its most striking aspect is how it precisely maps the connection between the rise of Colombian soccer and the money from drug mafia. Once the drug money is out, Colombian soccer collapsed. Chillingly, soccer becomes more important than a matter of life and death, though not in the manner Bill Shankly, the Liverpool legend, imagined. It truly symbolized what Eduardo Galeano wrote in the opening of his book, <i>Soccer in Sun and Shadow</i>: “The history of football is a sad voyage from beauty to duty”.</div></div>Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-70184673072877331382011-12-10T17:33:00.000-08:002011-12-10T17:33:35.900-08:00IFFK 2011 - Day 2 Night<div dir="ltr" style="text-align: left;" trbidi="on">The last two films I watched today were <em>Once Upon a Time in Anatolia</em> by Nuri Bilge Ceylan in Ajantha Theatre and <em>Faust</em> by Aleksander Sokurov in Sree Padmanabha.<br />
<br />
<br />
<strong>Once Upon a Time in Anatolia</strong><br />
<br />
I had become an instant fan of Nuri Ceylan after watching <em>Three Monkeys</em> in one of the previous IFFKs. <em>Once Upon a Time ...</em> is a typical Ceylan film: protagonists in deep emotional turmoil and the visual landscape somehow conspired to reflect their minds. <br />
<br />
The film narrates the events happened in a night and the next day in Antalonia, a vast sloppy grass-field in Turkey. Police officials are taking an accused and co-accused to the fields in search of a dead body they buried in the field. The entire field looks the same and the accused cannot find the exact spot where the body was buried. Rain and a windy night cannot help things. The team includes a prosecutor, a doctor, a police superintendent, his deputy, some sergeants, and two diggers. And most of them simply hate each other. Tempers fray as the tension and frustration mounts. They still cannot identify the place.<br />
<br />
They stop work as the storm intensifies and stay in the house of a village head nearby. In the night they learn a lot deal more about themselves and others. The accused killed his friend after he had accidentally disclosed to his friend in drunken revelry that he was the father of the other's son. The next day they identify the dead body and the body is taken to the town to conduct autopsy. <br />
<br />
More than the storyline, it is the environment of the film that fascinates viewers. You see many of the usual Ceylan visuals in this film too: various objects loosely flying around in the night wind, paths that seem to catch fire from the vehicle headlights, and solitary trees frightened by the night around them. The narrative also includes many subplots, like the pasts of the prosecutor and the doctor and the present lives of the police officials.<br />
<br />
One caveat to add though. The film is not as gripping as Three Monkeys or Climates. Towards the end, the tension that prevails till the end in the former films somewhat relieves in this film. <br />
<br />
<strong>Faust</strong><br />
<br />
<em>Faust</em>, a loose adaptation of Goethe's 19th century German tragedy, is more fast paced than one would expect for an Aleksander Sokurov film. It deals with the power struggle between the good and the evil (or god and satan), where Faust, a doctor and scientist, who seeks the ultimate truth and asks honest questions to himself, becomes the rope in that tug of war. <br />
<br />
Tomorrow I am planning to watch two Competition Section films of IFFK 2011: <em>Black Blood</em>, a Chinese film directed by Miaoyan Zhang, and <em>Body</em>, a Turkish film directed by Mustafa Noori. <br />
<br />
<br />
<br />
</div>Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-16125383075972341422011-12-10T00:52:00.000-08:002011-12-10T16:55:37.578-08:00IFFK 2011 - Day 2 Afternoon<div dir="ltr" style="text-align: left;" trbidi="on">I watched two films so far today. First I saw <em>L'argent</em> (or Money) by Robert Bresson in Kalabhavan theatre. It is a brilliantly crafted film, based on a story of Leo Tolstoy. Some peices of counterfeit notes go in circulation in Paris. The notes change many hands. Finally, an innocent young man receives the notes and gets caught when he unsuspectingly tries to do transaction with these notes. The film narrates the radical changes that happen in his and others' lives. <br />
<br />
Despite a simple story line, it is not a film that tells a simple moralistic tale. The beauty of the film lies in its shots. The camera does not focus on human beings and their faces. Instead we see all kinds of mechanical objects: metal locks, iron bars, plastic pipes, hack saw, and variety of doors and passages. You also see people's legs, their back, anything except their face. People who passes through these objects become less important than these objects. The film chillingly suggests they become less important because they are after the 'visible god' among all objects: money.<br />
<br />
I had planned to watch <i>Eternity and a Day</i> by Theodoros Angelopoulos. But I learned about the change of schedule only when I reached Dhanya Theatre. After some instant research with schedule, the Festival Book, and the Daily Bulletin, I decided it best to watch the replacement movie, Of Gods and Men, a Fench film directed by Xavier Beauvois. <br />
<br />
It is sober tale based on a real life incident happened in 1996 in Tibhirine,a hilly village of Algeria during the civil war. Nine French monks were living in a monstery which was the fulcrum by which the village functions. When the civil war broke out, the monks were asked to leave by various factions, including the French adn the Algerian governments. But they refused to leave, citing the bible verses and remembering the Sacrifice. Intially some members were reluctant. Later, after some rounds of intimidation from both the warring sides, the reluctant members too must enough courage to stay on. They stay on despite the heaping deadbodies and ruthless mass murder in their surroundings. Finally, they were abdducted and killed. <br />
<br />
It is a slow-paced film, interspersed regularly with relegious sermons and biblical verses. It asks perhaps the most relevant question of our times: "For whom do they kill?"<br />
<br />
Next I am going to watch one of the most anticipated movies in IFFK 2011: <em>Once Upon a Time in Anatolia</em> in Ajantha theatre. Hopefully there won't be any change of films. </div>Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-48449652506785822302011-12-09T16:59:00.000-08:002011-12-09T16:59:05.867-08:00IFFK 2011 Day 1 Night<div dir="ltr" style="text-align: left;" trbidi="on">The last film I watched today is <i>Circus Columbia</i>, directed by Danis Tanovic. His first film, No Man's Land, was one of the trend-setting Balkan war films. This is another of that genre. It is the story of a Bosnian expat, who was forced to flee the country by the communist regime, coming back to his native village to settle some old scores: both personal and political.<br />
<br />
Set in the back drop of a looming civil war, the film offers delightful glimpses of life in Balkan villages. It is a kind of guided tour through humor, satire, love, adolescence life, and a bit of incest. One problem with the film is that it tends to focus more on personal lives than on the bigger political picture. If you are familiar with the Balkan war films, chances are that you will not be much impressed.<br />
<br />
Part of the reason why this film did not appear as appealing as some of the reviews suggested would be the fact that I watched this movie after the splendidly hilarious <i>Two Half Times in Hell</i>. Easily the best movie I have watched which has a sport as a central theme. <br />
<br />
Tomorrow is going to be a day with the masters: <i>L'argent</i> by Robert Bresson, <i>Eternity and a Day</i> by Theodoros Angelopoulos, <i>Once Upon a Time in Anatolia</i> by Nuri Bilge Ceylan, and <i>Faust </i> by Aleksander Sokurov. </div>Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-55794868348892612762011-12-09T01:06:00.000-08:002011-12-09T07:41:19.507-08:00IFFK 2011 - Day 1 Afternoon<div dir="ltr" style="text-align: left;" trbidi="on">IFFK 2011 started with less than expected crowd today. Theaters have not been as jam-packed as organizers said they would be. The next two days are holidays and are expected to bring in an avalanche of film lovers.<br />
<br />
Watched two films today. Breakfast, Lunch, and Dinner, a collection of three short films of the same theme by three directors (Kaz Cai, Wang Jing, Anocha Auwichakornpong). Each short film addresses a grand theme: women and their quest for love. It narrates a day in the life of three women. Incidentally, the day after Benazil Bhuto was asassinated. It has a grand theme. But the film fails to gel together as a great movie.<br />
<br />
<br />
Next I saw Two Half Times in Hell - a brilliant Hungarian film, by Zoltan Fabri. It is the first film of the Kicking Soccer package in this year's IFFK. The film was released in 1963 and is in black and white. It is a black comedy set in the backdrop the Second World War and the invasion of Hungary by the Nazis. It portrays the events unfolded in a prisoner camp when a football match between Hungary and the 'official' Germany is proposed and then held. The film scathingly reveals the meaninglessness of many narrow beliefs - be it patriotism, worship of leaders, and, ironically, love of soccer.<br />
<br />
Next I am going to watch Circus Columbia in Remya. More about it later.</div>Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com2tag:blogger.com,1999:blog-32065227.post-15774288335726965772011-11-06T19:45:00.000-08:002011-11-06T19:45:52.469-08:00IFFK 2011 Is Here<div dir="ltr" style="text-align: left;" trbidi="on">The first signs of IFFK 2011 have appeared in various media today. <a href="http://www.iffk.in/index.php?page=register_choice">Online registration</a> has been started, films in <a href="http://www.iffk.in/index.php?page=films">competition section</a> announced, and delegate fee hiked. It was Rs. 300/- last time around, now it is Rs. 500/-. About 66% hike. Might be due to the increase in petroleum products. This certainly will not deter many from participating in a film festival which has almost become an annual habit for filmbuffs in Kerala.<br />
</div>Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-35683648759005252010-12-15T18:06:00.001-08:002010-12-15T18:06:46.861-08:00IFFK 2010 Day 6: Films from Real Life<div class="MsoNormal">Films based on real life incidents are hit or miss affairs. Either they click and elevate to the pantheon of good films or they pale and descend to the alley of ordinary films. I watched two films today at IFFK; both are based on real incidents in 1960s. The first film, The Little Rose, a Polish film directed Jan Kidawa-Blonski, has an irresistible blend of love, passion, politics, and intrigue. The second film, My Mongolian Mother is a Chinese film, directed by Ning Cai, is the story of 3000 orphans transported to Mongolia for adoption after the heavy floods in Shanghai in the early 1960s.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="EN-IN"><b>The Little Rose</b></span></div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN">You can approach this film in many angles. It can be the story of a writer-professor who writes and acts against the government. Or it can be the story of a pretty woman caught up between a police officer and the professor. Or it can be a neat portrayal of Poland in 1967. The most striking angle obviously is the plight of the woman, who was asked to spy on the professor by her police man lover. The police officials desperately want to prove that the professor is a Jew, working for Zionists. The film has the Israel-Arab war in 1967 in the backdrop. But the elegant charm of the professor’s attracts the spy and soon she changes sides. This infuriates her original lover, and he becomes blind with rage and jealousy. </span></div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN">The person emerges strongly from the debris of emotions in the end is the woman, Little Rose, which is her code name as a spy. The film shows how she metamorphoses into a mature and strong-willed woman from a passionate damsel.</span></div><div class="MsoNormal"><span lang="EN-IN">This is not a typical three-way love story, but a film in which politics, passion, and humour are expertly merged together. Certainly a hit, as far as making films from real life incidents goes. </span></div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN"><b>My Mongolian Mother</b></span></div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN">The film, set in the vast Mongolian grass lands, tell the story from the angle one of the orphans, who were taken to Mongolia from China in the early 1960s. His mother brought two of the orphans, despite suffering many forms of hardships during the process. When they are ready to stand on their own, their original parents come to take them back. This provides emotional problems for both the Mongolian mother and her adopted children. But she is all poise and grace during such a crunch time.</span></div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN">The film has a magnificent setting and an emotionally gripping story. But somehow the film stops short of creating the magic that good films trigger in the spectators’ mind. I would rate it as a miss, as far as making films from real life incidents goes.</span></div>Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-55760885306001720052010-12-14T17:49:00.001-08:002010-12-14T17:50:20.396-08:00IFFK 2010 Day 5: The Kyrgyz Experience<div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><span class="Apple-style-span" style="font-family: Arial, sans-serif; font-size: 14px;">Breaking-up of the former USSR (Soviet Union) was big news here in Kerala back in the eighties. The political result may be good or bad (it certainly depends on how you look at it). But it has certainly a boon for the film lover. The number of good films from the former Soviet republics would emphatically vouch for that.</span></div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: Arial, sans-serif; font-size: 10.5pt;">Today, I saw two more lovely films from Kyrgyzstan, The Light Thief, directed by Aktan Arym Kubat, who also plays the lead role, and Saratan, directed by Ernest Abdyjaparov. I had already written about The Adopted Son, directed by Aktan Abdikalikov, a delightful neorealist film about the childhood days of an adopted boy. These three directors are pioneering something like a film new wave in the country, as the sheer quality of these films indicate.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 10.5pt;">The Light Thief<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: Arial, sans-serif; font-size: 10.5pt;">This is the debut movie of the director. It deals with the life of an electrician, who is known as Mr. Light, in a remote village in Kyrgyzstan. He is extremely popular in the village, as he helps the poor by making the electric meter run in the reverse direction, so that the poor people do not need to pay the electricity bill. But soon authorities found this out and terminated his services. But he still has his innovative ideas, such as generating electric power from windmills. He has even constructed a miniature windmill in front of his house. The laidback life in the windy, mountainous village faces a challenge when an ambitious city-born politician tries to procure lands in the village.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: Arial, sans-serif; font-size: 10.5pt;">Initially, he manages to impress the villagers with his new ideas, especially Mr. Light. But soon, our hero realizes the dangers of siding with the politician and refuses to co-operate with him. Troubles start then for him, leading to a poignant climax. The film touches different shades of human emotions and many of the contemporary issues, such as globalization, political changes, and exploitation. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 10.5pt;">Saratan<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: Arial, sans-serif; font-size: 10.5pt;">It is another film that depicts the lazy, laidback life in Kyrgyz villages. The same locations that appear in The Light Thief appear in this film too: lovely fields, mountains as backdrops, and dusty roads. This is a more like a black comedy than a realistic drama. You find a number of characters with curious habits: a Mayor, whom nobody bribes, a womanizing police man, a thief who commits suicide after losing a duel with the police man, a political rebel who still has faith in Communism, a preacher who tries to spread Christian religion, a mullah who is always late for the morning prayers, a rich man who tries to take control of the land, and a bunch of alcoholic villagers. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 15.3pt; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: Arial, sans-serif; font-size: 10.5pt;">The film portrays the life in a village which is crippled by neglect of the state and economic crisis. The Mayor sums up the political situation of the region nicely, when he says, “Earlier people used to depend on the government for money; now government depends on the people for money”. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div>Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-1856829526224897742010-12-13T17:27:00.001-08:002010-12-13T17:27:50.278-08:00IFFK 2010 Day 4 – Zephyr: A Gem of a Film<div class="MsoNormal">I could watch only one film on the fourth day of IFFK 2010. But it more made up for my day. The film was Zephyr, a Turkish film in the Competition Section, directed by Belma Bas, one of the frontrunners of the new generation Turkish filmmakers. The film has already become a strong contender for the Golden Pheasant award. Wine, an Argentine film in the competition section, too has received rave reviews from the critics and enthusiastic response from the audience.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-IN">Zephyr<o:p></o:p></span></b></div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN">The film deals with the story of a young girl, named Zephyr, who lives with her grand parents in a hilly Turkish village. Her mother is not living with them, and the girl spends most of the time looking for her mother from a cliff. But the mother does not turn up. The girl becomes more and more unemotional in her attitude towards her friends and even grand parents. Her best companion is the Mother Nature. Life goes along in the beautiful village without much noise. And one day her mother arrives. Joy erupts in their household.</span></div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN">Soon, she hears hushed talks about her mother’s imminent departure. This time, she is leaving for good. Zephyr predictably becomes very annoyed at this. Finally, the day of her mother’s departure arrives. She leaves in the early morning, which is just recovering from the previous night’s mist. Zephyr secretly follows her mother. But soon they meet. It leads to a stunning climax. </span></div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN">The film unfolds in a slow, teasing manner. Each sequence of the film is thoughtfully conceived and beautifully shot, which organically evolves into the awesome finale. A must watch.</span></div>Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-4428089613746174962010-12-12T20:31:00.001-08:002010-12-12T20:31:34.956-08:00IFFK 2010 – Day 3. A Busy Day, But Good Films<div class="MsoNormal">It has been a busy day in which I saw four films. In the end I felt I have been punch-drunk with movies. <span style="mso-spacerun: yes;"> </span>Here are my impressions about the movies.</div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN"><b>The Adopted Son</b></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="EN-IN">First I saw Beshkempir, The Adopted Son, which is a film from Kyrgyzstan, directed by Aktan Abdikalikow. I had read some good reviews about the film from the internet. But I never imagined that it would be such a remarkably good film. It portrays the childhood of an adopted son in a rustic village in Kyrgyzstan. For us, who have grown up watching Pather Paanchali, the atmosphere of the film looks pretty familiar. The difference between this and Indian neorealist is the delightful portrayal of the mischief-filled childhood of the protagonist. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="EN-IN"><b>Certified Copy</b></span></div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN">Next I watched the one of the most eagerly awaited films of this festival, Certified Copy, by the renowned Iranian filmmaker Abbas Kiarostami. Iranian filmmakers have been enjoying special attention in IFFK, right from its start. But this film from Koarostami is a disappointment. It was not a boring film. I expected much better from the Iranian virtuoso. The film unfolds through the conversation between a man and a woman; both are art experts. The conversation starts from the originality in art, then soon drifts to love, marriage troubles, and philosophy. Soon, we find out that they are actually husband and wife. You feel more like reading a novel or an article that watching a movie.</span></div><div class="MsoNormal"><span lang="EN-IN"><br />
</span></div><div class="MsoNormal"><span lang="EN-IN">After that I watched two more films in the afternoon: Optical Illusions, a Competition Section film from Chile, directed by Cristian Jimenez, and Just Between Us, a Croatian film directed by Rajko Grlic. Both the films dealt delightfully with unusual subjects. Optical Illusions shows us why the urge for change is an optical illusion. Just Between Us is a celebration of unfaithfulness and sexual desires. </span></div>Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-26942123505785673412010-12-11T17:58:00.001-08:002010-12-11T17:58:43.921-08:00IFFK 2010 – Day 2I managed to watch four films in IFFK 2010 today: What You Don’t See, an Austrian film directed by Wolfgang Fischer, Irma Wep, part of the retrospective of the post New Wave French director Olivier Assayas, Domaine, a rather recent French film directed by Patric Chiha, and Songs of Love and Hate, a Swiss film directed by Katalin Godros. The last mentioned is easily the best film of the day, with its deft portrayal of the complex relationships within a family.<br />
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What You Don’t See<br />
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The films title is perhaps indicative of its content. On the surface, it appears a simple enough film about a teenaged boy coming to a resort with his mother and her lover. He meets another rash youngster and his girl companion. The mother and her lover spend most of their time together, while the boy roams with his new found friends. His mother is somewhat guilty about having an affair and seeks is permission to marry her lover. But nothing goes according to the plan, as his friend kills the beloved pet dog of his mother’s lover. Things, then, take an unexpected twist. As I said, the storyline appears simple enough. But as the film unfolds, the narrative becomes complex. I could not draw much from the film. What you don’t see is what you probably get. <br />
<br />
Irma Wep<br />
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I decided to watch Irma Wep after seeing the lively documentary Olivier Assayas, This film was made in 1999. It is a satiric film about the pseudo intellectualism in French film industry, and provides a fly-on-the-wall narration of the events surrounding the remake of a French horror film, Irma Wep. An actress from Hong Kong, known for her performances in stunt movies, reaches Paris to take the lead role of the movie. She is confronted with an ensemble of typical film folks: busy executives, hopelessly pretentious directors, and quarrelling crew members. <br />
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The film is fun to watch, but it did not live up to my expectations, which had been fuelled rather irrationally by yesterday’s documentary. Before the screening of the movie, Beena Paul, creative director of the festival, introduced Olivier Assayas to the audience. He spoke a few words too.<br />
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Songs of Love and Hate<br />
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It is a family drama of a different kind that narrates the perils of growing up. Set in a farming village, the film deals with the story of Rico, a wine yard farmer, his wife, and their two daughters. His elder daughter, Lilly, has an affair with a neighbourhood boy. Rico’s approach towards his daughter changes when he learns about her affair (or possibly after he saw her naked body accidentally). This creates reverberations in the whole family. Lilly’s attitude towards life, especially towards her parents changes. His wife too understands the changes in him. Tension grips the relationship within the family members.<br />
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The film portrays the dark sides of human psyche and sexuality (as the director said, apologetically in fact, before the screening). But she deserves praise for the deft handling of such a delicate subject. A good movie, the best so far for me in this year’s IFFK.Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-20742874592614386732010-12-10T06:56:00.000-08:002010-12-11T17:57:31.726-08:00IFFK Day 1: Two Films that Looked like Documentaries and a Documentary that Looked like a FilmThe first day at IFFK 2010 started, as is the precedent, at Kalabhavan at 9 AM. For a change, the first screening this year comprised two films: Cameroon Love Letter, directed by Khavn De La Cruz, and Unreal Forest, directed by Jakrawal Nilthamrong. Both the films are part of Forget Africa package of Rotterdam Film Festival. And both the films are bold experiments on film craft, but are unkind to a casual viewer, as the directors’ names are to the tongue. Still, each of these films is memorable in its own unique way and is worthy first screenings of the latest edition of IFFK.<br />
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<br />
<strong>Unreal Forest</strong><br />
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The film meticulously plays the celluloid double card trick –a film within a film – that no longer amuses seasoned film watchers. But it serves the purpose for the director, as it neatly conveys the problems faced by filmmakers in Africa and the plight of the poor. The first part is the documentary-like unfolding of making of a film and the second part is the film itself. <br />
<br />
<strong>Cameroon Love Letter</strong><br />
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The second film of the screening was even more unconventional. The film was made from documentary footages from Cameroon. But it deals with a poignant tale of break-up and love between two metro-sexuals. There is no obvious link between the visuals and the narration. But the cocktail of haunting music, the scathing, yet lyrical parting letter written by the woman protagonist (who never comes on the screen, but her letter appears as subtitles on various parts), and the monologue by the protagonist of the movie creates an absorbingly unique ambience on the screen.<br />
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A majority of the viewers, it seemed, could not stand two stylistically path-breaking films at one go. The screening started house-full. But when it ended after more than two hours, there were only a handful of spectators. <br />
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<strong>HHH- A Portrait of Hou Hsiao-Hsien</strong><br />
<br />
Later, I watched HHH- A Portrait of Hou Hsiao-Hsien, directed by Olivier Assayas, at Kalabhavan. My original idea was to see Black and White, a Turkish film that is tipped by the local media as one of the must-watch films of this festival. But a last minute change in schedule by the organizers spoiled the plan. Most people only realized it is a documentary only when they entered the cinema hall. No more, some of them pleaded, especially after the first two films. But the documentary turned out to be livelier than the films that preceded it.<br />
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This is the director’s tribute to the prominent Taiwanese filmmaker Hou Hsiao-Hsien. The determination and strong character of the subject shone throughout the documentary. Sequences of the some of his films too are nicely weaved into the narrative. There is not even a single dull moment in the movie, thanks mainly to the documentary-maker’s craft and partly also due to the dynamic personality of its subject.<br />
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Tomorrow is going to be a busy day. Hopefully, it will be even better than this.Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-69657535989752621252010-12-09T08:06:00.001-08:002010-12-09T08:17:50.669-08:00IFFK 2010 Starts TomorrowAll set for a grand start to the fifteenth edition of the International Film Festival of Kerala, IFFK 2010. It has been raining heavily (cats, dogs, and other animals) in Thiruvananthapuram city over the last week. Even the rain stopped today as if to welcome the festival. <br />
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<br />
For many film lovers in Kerala, an annual trip to Thiruvananthapuram in the second week of December has become a kind of an addictive cinematic pilgrimage. This year too a number of fascinating films are on offer in the IFFK. Complete details regarding the films and schedules have been published in the <a href="http://iffk.in/">official website of the festival</a>. <br />
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A welcome change is the launch of signature film well before the first screening. It is created by some creative souls in Toonz Animation, Technopark, Thiruvananthapuram. It is available in <a href="http://www.youtube.com/?v=xDndoyP0OLQ">Youtube</a>.Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-64328358520257258572010-11-05T20:10:00.000-07:002010-11-05T20:13:39.192-07:00Online Registration Opens for IFFKOrganizers of 15th International Film Festival of Kerala (IFFK) chose the auspicious occasion of Deepavali to open the online registration facility for delegates. Visit <a href="http://www.iffk.in/">www.iffk.in</a> for register online. Fireworks of delightful memories have already started in the minds of film buffs. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXN526Wofs0nwoym3K1l0_F1a1Aj1o5jtK5PJhczgogQh8Bn1TuWse8V9ZPRB_yyySWGFbHFMh63s3506UzZObEdmRmRryTje35IVkD68Va8tKp_P9YEF8Q2TrSzIiUysrZwQ-/s1600/iffk+image.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXN526Wofs0nwoym3K1l0_F1a1Aj1o5jtK5PJhczgogQh8Bn1TuWse8V9ZPRB_yyySWGFbHFMh63s3506UzZObEdmRmRryTje35IVkD68Va8tKp_P9YEF8Q2TrSzIiUysrZwQ-/s1600/iffk+image.gif" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image courtesy IFFK website</td></tr>
</tbody></table>Over the last few years, there has been no shortage of innovation from the part of IFFK openers. There won’t be any shortage this time either, judging by the changes in the website. Last year’s delegates can now register themselves easily with just three or four clicks. Details and photos of all the delegates of 14th IFFK are already there in the website. What more, you can search by your name, registration number, mobile number, or place. You can edit the details if you want. Registration fee is Rs. 300/-, can be paid in person at Kalabhavan office, through demand draft, or through online payment. <br />
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Two Malayalam films – Paleri Manikyam, Oru Pathirakolapathakathinte Katha, by Ranjith, and TD Dasan, Std. 6B, by Mohan Raghavan, have been included in the competition section of the festival.Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-27920752537291711412010-08-24T01:49:00.000-07:002010-08-24T01:49:12.960-07:00Onam photos and videos from a Kerala village<a href="http://atltimes.blogspot.com/2010/08/onam-in-attingal.html">Here are</a> some some onam photos and videos from a village near <a href="http://atltimes.blogspot.com/2010/08/onam-in-attingal.html">Attingal</a> in Thiruvananthapuram. <br />
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Happy onam to all. <a href="http://atltimes.blogspot.com/2010/08/onam-in-attingal.html">Click here</a>.Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com0tag:blogger.com,1999:blog-32065227.post-71033095924955121762010-06-14T08:21:00.000-07:002010-06-14T08:21:19.068-07:00Is Football More Important Than Life and Death?Malabar, or northern Kerala, is the paradise of soccer lovers in Kerala, or so the cliché goes. There is something in the air in northern Kerala that creates better writers and more ardent soccer fans than in the southern parts. You just need to travel through the region to find out how deep runs footbal fever in Malabar. <br />
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Virtually every junction in Malappuram and Kozhikkode districts is decorated with flex boards of football World Cup. Not only the boards are aesthetically designed, but these have cleverly worded captions too. Kaka is a favorite of wordsmiths, as the word “kaka” in Malayalam means crow. Many Malayalam proverbs involving crow are twisted to great comic effect. One fan of Maradona's boys wrote in a flex board: “Messikku mukalil kakkayum parakkilla”. That is, even Kaka (crow in Malayalam) would not fly over Messi. <br />
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In the very next junction, Samba fans replied stylishly: “Aayiram Messikku ara Kaka (Half a Kaka is enough for thousand Messis). Well, judging by the posters it looks like Brazil has the maximum number of fans, followed by Argentina. Other countries like Portugal, England, and even France have some loyal Malayali supporters. <br />
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On the other hand, southern Keralites seem to have kept their soccer emotions under check prior to the World Cup. However, things are hotting up, football-wise, despite the heavy rain in these parts. Yesterday's match between Argentina and Nigeria was keenly watched and discussed here. And football did become a more important matter than life and death here. <br />
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Ambu, a native of Mudapuram, near Chirayinkeezhu about 35 km from Thiruvananthapuram, succumbed to injuries sustained during a brawl with some cable TV operators yesterday. The brawl broke out after cable TV connection was lost in the area. Ambu, it is said, demanded immediate resumption of Cable TV network. But the cable TV operators were not able to repair the connection. It resulted in a quarrel and subsequent fighting between Ambu and the cable TV operators. Ambu suffered injuries, which later proved fatal. <br />
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Bill Shankly (who is know more famous for his quote, “football is not a matter of life and death. It is much more that”, than his achievements with Liverpool) must be the greatest prophet as far as football is concerned.Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com1tag:blogger.com,1999:blog-32065227.post-4417564544194858372009-12-18T08:24:00.000-08:002009-12-18T08:25:05.693-08:00IFFK 2009 Final Day: Watching Films As If There Is No TomorrowIt was the last day of IFFK 2009. I watched films as if there is no tomorrow. I saw Twenty (an Iranian film directed by Abdolreza Kahani), Divine (directed by the Mexican master Arturo Ripstein), and Man by the Shore (directed by the Haitian virtuoso Raoul Peck). I opted to watch the last two films because I have not watched any of the films of the retrospectives of Arturo Ripstein and Raoul Peck. Now I realize that it was a bad mistake.<br /><br /><span style="font-weight:bold;">Twenty</span><br /><br />It is a typical Iranian film, much like the films of, say, Majid Majidi. The film boasts of many familiar Iranian qualities: a simple theme, straightforward and flawless narration, and characters grappling with their inherent weaknesses and surviving with their inherent strengths.<br /><br />The main character of the film is the owner of a hall, which is used for hosting marriage functions and functions related to funerals. The opening scenes establish that he is having psychiatric problems, as they are getting orders of funeral functions only. The psychiatrist advises him to sell the hall. The next day one person comes along with a real estate agent to have a look at the hall. The owner then announces the staff that he would be selling the hall within 20 days. The rest of the story is about how the decision affects the staff members, five of them, and how they react to it.<br /><br /><span style="font-weight:bold;">Divine</span><br /><br />This is a black comedy by the renowned Mexican director Arturo Ripstein. He made the film to look like a celluloid spoof of epic Hollywood films. The film narrates the events in the camp of a Christian sect, called New Jerusalem. The sect is headed by a virgin who is to bear the god’s son. The present head is an old woman who has many health issues. Troubles start when she selects a young new comer as her successor. She starts to give strange orders. <br /><br />The film’s objects of sarcasm are wide ranged: from Christian beliefs to Hollywood epic films. The most memorable scene of the movie is undoubtedly its climax.<br /><br /><span style="font-weight:bold;">Man by the Shore</span><br /><br />This is a beautifully conceived political movie – the story is told the memories of a girl, whose parents went missing after a coup in Haiti. I have to say that this is a fitting finale to any film festival. The film has many things in common with the first film I watched in this festival: The Last Supper. Both show fights of ordinary people against the mighty.Brown Countryhttp://www.blogger.com/profile/11462434901253409009noreply@blogger.com1