The first signs of IFFK 2011 have appeared in various media today. Online registration has been started, films in competition section 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.
Sunday, November 06, 2011
Wednesday, December 15, 2010
IFFK 2010 Day 6: Films from Real Life
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.
The Little Rose
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.
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.
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.
My Mongolian Mother
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.
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.
Tuesday, December 14, 2010
IFFK 2010 Day 5: The Kyrgyz Experience
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.
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.
The Light Thief
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.
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.
Saratan
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.
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”.
Monday, December 13, 2010
IFFK 2010 Day 4 – Zephyr: A Gem of a Film
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.
Zephyr
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.
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.
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.
Sunday, December 12, 2010
IFFK 2010 – Day 3. A Busy Day, But Good Films
It has been a busy day in which I saw four films. In the end I felt I have been punch-drunk with movies. Here are my impressions about the movies.
The Adopted Son
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.
Certified Copy
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.
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.
Saturday, December 11, 2010
IFFK 2010 – Day 2
I 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.
What You Don’t See
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.
Irma Wep
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.
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.
Songs of Love and Hate
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.
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.
What You Don’t See
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.
Irma Wep
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.
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.
Songs of Love and Hate
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.
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.
Friday, December 10, 2010
IFFK Day 1: Two Films that Looked like Documentaries and a Documentary that Looked like a Film
The 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.
Unreal Forest
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.
Cameroon Love Letter
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.
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.
HHH- A Portrait of Hou Hsiao-Hsien
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.
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.
Tomorrow is going to be a busy day. Hopefully, it will be even better than this.
Unreal Forest
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.
Cameroon Love Letter
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.
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.
HHH- A Portrait of Hou Hsiao-Hsien
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.
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.
Tomorrow is going to be a busy day. Hopefully, it will be even better than this.
Thursday, December 09, 2010
IFFK 2010 Starts Tomorrow
All 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.
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 official website of the festival.
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 Youtube.
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 official website of the festival.
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 Youtube.
Friday, November 05, 2010
Online Registration Opens for IFFK
Organizers of 15th International Film Festival of Kerala (IFFK) chose the auspicious occasion of Deepavali to open the online registration facility for delegates. Visit www.iffk.in for register online. Fireworks of delightful memories have already started in the minds of film buffs.
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.
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.
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| Image courtesy IFFK website |
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.
Tuesday, August 24, 2010
Onam photos and videos from a Kerala village
Here are some some onam photos and videos from a village near Attingal in Thiruvananthapuram.
Happy onam to all. Click here.
Happy onam to all. Click here.
Monday, June 14, 2010
Is 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Friday, December 18, 2009
IFFK 2009 Final Day: Watching Films As If There Is No Tomorrow
It 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.
Twenty
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.
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.
Divine
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.
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.
Man by the Shore
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.
Twenty
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.
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.
Divine
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.
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.
Man by the Shore
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.
About Elly and Jarmal Share IFFK 2009 Honors
About Elly (an Iranian film directed Asghar Farhadi) and Jarmal (an Indonesian film directed by Ravi L. Bharwani and Rayya Makarim) won the Golden Crow Pheasant Award (Suvarnachakoram) in the just concluded 14th International Film Festival of Kerala (IFFK 2009). About Elly had won many prestigious international awards and recognition, including Oscar nomination for the best foreign film and Asia Pacific Screen Award.
Details of Winners
The Golden Crow Pheasant Award (Suvarnachakoram): About Elly and Jarmal
The Silver Crow Pheasant Award (Rajata Chakoram): My Secret Skys (a South African film directed by Madoda Ncayiyana)
The best director: Nosir Siadov (director of True Noon, a
Audience award for the best film: True Noon
FIPRESCI award for the best film: A Fly in the Ashes (an Argentine film directed by Gabriela David)
NETPAC award for the best Asian Film: Jarmal
The best debut Indian Film: Harichandra Factory (directed by Paresh Mokashi)
NETPAC award for the best Malayalam Film: Kerala Café (a film comprising 10 short films; produced by Ranjith)
FIPRESCI award for the best Malayalam Film: Patham Nilayile Theevandi (directed by Joshy Mathew)
Wednesday, December 16, 2009
About Elly: A Tour Gone Sour
IFFK 2009 - Day 6
I watched three films today. I had planned to watch four films. However, I could not watch any of those four films because of a seemingly endless traffic jam in Thiruvananthapuram city. In the end, I managed to watch Ploy (an Indonesian film by Pen-Ek Ratanaruang), Once Upon A Time (an Italian film by Francesco Rosi), and About Elly (an Iranian film by Asghar Farhadi).
Ploy
Ploy is a kind of not-so-good not-so-bad film. It deals with a decaying marriage life, or what is famously knows as the seven year itch. The protagonists, a man who runs a restaurant in
The wife leaves the room afterwards and ends up being drugged and raped. In some separate and slightly unrelated sequences, the bartender and cleaning girl of the hotel makes love in another room. The only thing that links the detailed love-making scenes with the main plot is Ploy’s reference to a dream she had in which she sees the same people making love.
One good thing about the film is what can be called visual humor. Some unusual sequences and camera angles create subtle humor without the help of any action or any dialogues.
The film started 15 minutes late, as the director, Pen-Ek Ratanaruang, could not reach the venue in time. In the end, screening started without the director making his customary introductory speech. It only helped in spoiling the film-watching plans of many delegates.
Once Upon A Time
This techni-color movie starring Omar Sharif and Sophia Loren is indisputably the worst movie I have watched in this festival. Some of the older folks may have got a feeling of déjà vu and nostalgic memories by seeing Sophia Loren. However, the response of the delegates gave the impression that most of them were plainly bored by the film.
About Elly
This is a competition section film. I won’t be surprised if it wins the award (though I pray that Soofi Paranjha Katha or Madhyavenal win the award). It is a deftly woven film which reflects many complex issues of life and human psyche by narrating some simple things.
The plot can be described as follows. A group of young couple go for a picnic in a seaside town. One odd person in the group is Elly, the nursery teacher of the daughter of one of the couples. The first half shows typical incidents of a picnic. The mood of the film changes when a young boy of the group is trapped in the waves. The grown-ups somehow rescue the boy, but then they notice that Elly is missing. They search frantically for her, but to no avail.
However, the incident slowly reveals many uncomfortable issues between the couples. Soon, the whole group gets entangled in a web of lies. What was seen in the first half of the movie as pleasant interpersonal relationships start getting bitter. Towards the end of the movie, Elly’s fiancée too enters the fray, complicating things further.
The director, Asghar Farhadi, remains impressively non-judgmental and impassive in the treatment. The viewers feel like peeling an onion called life. The outer layers seem bright and easy. However, as one goes inwards, the texture and complexion of the layers change, and the characters appear unrecognizable from the ones shown in the first half of the movie.
IFFK Blogs
The media coverage and the coverage on bloggosphere about IFFK have been subdued, compared to the previous years’. Two notable blogs about IFFK are dear cinema and passion for cinema. The writers are knowledgeable, passionate about films, and write seriously well. IFFK this time has an official blog too. Kanikonna, a Malayalam website, too publish stories occasionally. It contains many interesting posts. Delegates and guests can contribute to the blog by sending their posts to iffk.blog@gmail.com.
Tuesday, December 15, 2009
Jermal: A Mid-sea Fishing Platform Hosts A Strange Family Re-union
IFFK Day 5
I could watch only two films today. Elevator to the Gallows by Louis Malle and Jermal, an Indonesian film directed by Ravi L. Bharwani and Rayya Makarim.
Elevator to the Gallows
This is a well-known and widely-appreciated classic, which should have used up reams of newsprint and megabytes of internet server space by now. It was vintage New Wave stuff: emptiness of urban life and wickedness of fate, all shown through a fast narrative laced with subtle humor. However, watching this film confirmed one doubt that I had for some time. French New Wave films are probably the first of the classic films that would succumb to the test of time.
Jermal
Jermal is one of the Competition Section films of IFFK 2009. The film is set on a magnificent backdrop. Almost the entire film is shot in a fishing platform (Jermal) in the middle of a sea.
The film starts with the shots of a boy (Jaya) being taken to the Jermal. There he was introduced to his father Johar, who refuses to accept him. Jaya finds the life in the Jermal difficult as the senior boys in the group subject him to cruel ragging. The back-breaking work in the Jermal too takes a toll on him.
The narrative flows through two streams. The first is the relationship between Jaya and his father. The second is how Jaya rebels against the tyranny of the leader of the boys. As the life in Jermal moves on, Jaya gets new friends, most of whom are attracted towards him because of his ability to write. His new found confidence reflects in the arrogant attitude towards his father. However, his father’s mind travels in the reverse direction. The more he sees his son, the more his stubbornness towards his son melts.
By the time Johar realizes the extent of his paternal affection, Jaya had become an entirely different personality. He even beats up the hooligan leader. It was then that Johar decides to tell his son why he abandoned his wife and why he leads a secret life of exile in the Jermal.
This is a realistically shot and well-crafted film, which for the most part, oscillates between the seriousness of a difficult father-son relationship and a more mirthful world of some rough boys and their tricks.
Monday, December 14, 2009
IFFK: International Film Festival of Kim Ki-Duc?
IFFK 2009 – Day 4
Anti Christ: Passion, Guilt and Crime
This is a gruesome, yet daring story of a couple, whose only toddler son falls down through the window and crashes to death, while they are passionately engaging in sexual intercourse. The opening sequence of the movie dramatically shows this incident. Thereafter, the movie is divided into four segments: grief, pain, despair, and three beggars.
The guilty conscious soon catches up with the wife (a later scene shows that she has actually seen the child about to fall, but has not done anything in her excited state of orgasm) and starts playing mental tricks. The husband is a therapist and soon takes the responsibility of treating her mental problems.
They move to an isolated cabin in a forest, where the entire family spent some days in the previous year. There, the activities grow more grotesque. Soon, her mental condition improves (she herself proclaims in one scene that she has come out of the problem); however, the husband starts to have problems. The animals, insects, plants, and all around him begin to frighten him.
As he tries to figure out the meaning of the notes that she wrote during their previous stay, she attacks him with a piece of wood. What happens later is … well, I am not spoiling it. It depends on whether you watch a Catholic or Protestant version of the movie. Apparently, IFFK received a protestant version. In a nut shell, she destroys the organs that were the root cause of the child’s death.
This is a difficult movie to watch. Even the dialogues (which is in English and hence no subtitles) is not very clear in some scenes. However, visuals are splendid and convey the mental turbulences of the actors. I would have watched the film again, if not for those gruesome scenes. Maybe, when or if computers take over, this might well be the only film they preserve.
A large number of people assembled at Kripa Theater to watch the movie, despite this being the second screening. Some newspaper reports about the explicit sex scenes in the movie obviously catalyzed spectator interests.
Dream: Whose Dream Is Your Life
It has been established today once and for all: Kim Ki-Duc is the best-loved and most sought-after director in IFFK. There were long queues in front of Dhanya-Remya theater complex that prompted security guards to wonder why all these people want to see this film. And when the name Kim Ki-Duc appeared on the screen, there were thunderous applause and cheers from the viewers.
The screening of the film, which was to be started on 11.45, started 15 minutes late. The fact that the previous screening at Dhanya concluded only on 11.35 complicates the matters further. After a determined effort in the heavy rush, I managed to get into the theatre. However, once the film started, all the sufferings were easily forgotten.
The film has a bewitching story line. A man sees dreams and a woman enacts the dreams in her sleepwalking self. This leads to some complex, occasionally humorous, and almost always beautiful sequences. The opening scenes establish this curious link between the protagonists. The film goes on to narrate how it changes their lives.
Verdict: A simple and bright movie that deals with some complex issues surrounding human psyche.
Sunday, December 13, 2009
A Day Of Average Films
IFFK Day 3
Poor planning forced me to miss one film. 
The first film, Sweet Rush, at Remya theatre, started at 10 am and finished around 11.30. It left me with only one choice in the second screening time segment – Nothing Personal (a Dutch film directed by Urszula Antoniak) at the same theatre. However, there was a huge rush for this movie and I could not even enter into the theater. Rumor has it that a particularly attractive poster of Nothing Personal, with a naked lady lying in a bed, caused this unprecedented rush.
Sweet Rush
Sweet rush is a “grass-like plant growing in wet places and having cylindrical often hollow stems”. The movie is based on a novel, in which the plant is an indicator of disasters. The movie has a two-layered structure. The first narrative structure is an actress’s monologues about her lover’s disease and about the problems about making a movie called Sweet Rush by Adrezej Wajda. The second narrative shows the movie in which she is acting. At one point towards the climax, both narratives intercept.
The director has shown deft craftsmanship in intercepting the two narratives. However, there is no point in hailing the narrative skills of a master like Wajda. The whole world knows it. Despite the narrative brilliance, the movie fails to engage the viewers.
One can find some of usual themes of Wajda’s films here also: The Second World War, existential questions, and personal grief and sorrows. Still, the lengthy single frame shots of the heroine’s monologue are monotonous and painstakingly slow. One feels like listening to an audio novel at times.
Bad Day to Go Fishing
Well, this is not boring or slow-paced. This is a happy film that deals with the life of an exiled wrestler and his cunning agent. The film opens with an ambulance, taking a body of an unconscious man to a hospital. The rest of the film actually reveals who is that unconscious person and how he ends up in the hospital bed.
The agent makes a living out of taking the “world champion” to various villages in
In this particular village, they run into problems. The arranged opponent was arrested after drunken brawl in a bar. In addition, a strong-willed woman comes on behalf of her strong-bodied fiancée to challenge the world champion. The circumstances force them to accept the challenge. Despite the determined efforts from the agent, the challenger and the fiancée refuse to accept his terms. The agent tries to flee on the previous day; however, world champion intimidates him to stay on. Eventually the fight takes place and one of them ended up in the hospital bed. Well, I am not spoiling the climax by saying who it is.
This is a well-made film, suitable more for commercial box offices than festival circuits.
No Monday morning blues
Tomorrow is going to be a big day (for once, I am eagerly waiting for a Monday). I have reserved seats for Anti Christ by Lars Von Trier and Dream by Kim Ki-Duk. I think I will have to miss Puska's
Useful IFFK Tips For Dummies
I have seen over the last two days many ardent film lovers struggling to figure out the nuances of the sms reservation option for balcony tickets in IFFK 2009. These are the same folks who can reel out anything from German Expressionism, French New Wave, et al to the titles of Golden Palm winning films in Cannes since their birth even in their sleep. As a socially committed cinephile, I decided to do something about it. And this is the result: some do-it-yourself tips to make your life (and others’ as well) in IFFK better and peaceful.How to book balcony seats through sms
This is simple enough. You need to send an sms to 9446301234. The sms should have the following format: Reg. no.[space]password[space]date[space]theater[space]film code.
Although it looks like a programming code, it is really simple. One can get the reg. no. and password from the delegate pass. Date refers to the day (that is, 14, 15, 16 etc.). Type the exact spellings of theatre and film code from the IFFK schedule. An ideal sms would look like this: 1160 PSUB7X3 15 KAIRALI CS05
Well, this much you get from one of the umpteen sms’s sent by TM-IFFK. This is only the theory part. Practical is somewhat more difficult. Before going to the practical, one must learn a bit more theoretical aspects.
The SMS reservation facility for a particular film starts two days before the date of screening of the film. Say, if the film is to be screened on 16th, the sms reservation facility starts on – yes, you guessed it right – 14th (remember the Godard’s equation: cinema = truth x 24 frames/sec). The reservation facility starts around 10’o clock in the morning.
The early birds do not have to sit in the front row and crane their necks. Nor they have to stand in random queues as shown in the picture on the left. However, one has to be fully prepared to tackle the situation. Practice the following tips and you can walk into the balcony with your head held high when others quarrel and plead with the hapless security guards at the entrance.Practical tips
1. Be prepared for balcony reservation two days in advance. That is, if you plan to book tickets on 16th, carry out all these activities on or before the morning of 14th.
2. Type your password and user name on the messaging window of your mobile phone. Type this number on the “To:” box: 9446301234. Then save the message as draft.
3. I assume that you have done the research about the movies (Suggested references: IFFK schedule, google, wikipedia, and all that jazz) and have finalized the films that you are going to watch on a particular day. Find the draft message you have saved in your phone and open it in the edit window. Type date, theater, and film code so that the message has this format: 1160 PSUB7X3 15 KAIRALI CS05. Save a message for each reservation that you want to make. This is easy. Change only theater and the film code of the original message and save it as a different message.
4. Around 9’o clock or a little later, you will receive a message from TM-IFFK informing that the reservation facility for a particular day (say 16th) has just been opened. Act on war footing now. You can forget any other job (including watching movies!) for some seconds. Straight away take the saved draft messages and send them one by one as soon as possible.
5. Make sure that you receive a confirmation from TM-IFFK (this may take up to 30 minutes).
6. Lastly and most importantly, make sure that you reach the venue 10-15 minutes before the screening and show your card to the security personnel. Otherwise, you will have to muscle your way through a crowd who are waiting snatch up the unoccupied seats in the balcony.
Saturday, December 12, 2009
True Noon: The States and The People
IFFK 2009: Day 2 Night
True Noon, a Tajikistan Film directed by Nosir Siadov, is a delightful, yet poignant film about how people’s life change by the interference of the governments. A number of films have dealt with this theme. Still, this film is fresh and beautifully shot.
The story happens in a mountainous border village between Tajikistan and Uzbekistan, two former Soviet states, which have become independent states after the fall of communism. The film develops around Kiril, an old supervisor of the weather observatory in the town, and his beautiful apprentice, Niloufar. He wants to leave to his Moscow to be with his wife, children, and grandchildren. He wants to hand over the duties to Niloufar, but there are many hurdles. She is about to be get married. They have to persuade the husband and other relatives about sending her to work after marriage. In addition, she does not have a formal certificate.
All such problems go to backstage as the army makes its appearance on the town. The army personnel put a barbed wire fence right across the village. Schools, hospitals, and many other institutions are on one side and many people are stranded on the other. It leads to some funny scenes, where a teacher stands and teaches on the one side of the fence and students sit and learn the other side.
Kiril is forced to cut the barbed wire, when the Niloufar’s mother feels pregnancy pain (her husband is determined to get a son). However, sensing this, the army men put mines on the path. The situation becomes dangerous as the marriage date of Niloufar nears and leads to a tense climax.
True Noon reminds one of a famous short story in Malayalam: Nalam Lokam (The Fourth World) written by NS Madhavan. It deals with the problems take place in a space shuttle, jointly launched by India and the then USSR, after the fall of the Soviet Republic. But the film is not as satiric as the story.
Reservation: Official versus People’s
More people arrived at IFFK 2009 on the second day. At least in some places, tempers started to fray. People are still to come into terms with the advanced reservation facility. In most places, not all people who reserve seats in the balcony bother to turn up. This led to many vacant seats in balcony; that too, when unreserved people are sitting in the front row, craning their necks upwards to watch the movie.
People soon learnt about this aspect somehow. Today before the screening of True Noon, some people demanded entry into the balcony even though they do not have a reservation. They actually tried to force their way in. It led to some angry arguments between the staff and the delegates. Perhaps, it is a fitting introduction to a film that deals with the trouble that an official decision brings to people!
However, the problems here are absolutely not the fault of the organizers. They have done well to provide even a simple sms reservation facility. Perhaps, they should start a cancellation facility too. I think they should also ban further reservation option of those people (at least a ban of one or two days) who do not turn up after reserving a balcony seat.
True Noon, a Tajikistan Film directed by Nosir Siadov, is a delightful, yet poignant film about how people’s life change by the interference of the governments. A number of films have dealt with this theme. Still, this film is fresh and beautifully shot.
The story happens in a mountainous border village between Tajikistan and Uzbekistan, two former Soviet states, which have become independent states after the fall of communism. The film develops around Kiril, an old supervisor of the weather observatory in the town, and his beautiful apprentice, Niloufar. He wants to leave to his Moscow to be with his wife, children, and grandchildren. He wants to hand over the duties to Niloufar, but there are many hurdles. She is about to be get married. They have to persuade the husband and other relatives about sending her to work after marriage. In addition, she does not have a formal certificate.
All such problems go to backstage as the army makes its appearance on the town. The army personnel put a barbed wire fence right across the village. Schools, hospitals, and many other institutions are on one side and many people are stranded on the other. It leads to some funny scenes, where a teacher stands and teaches on the one side of the fence and students sit and learn the other side.
Kiril is forced to cut the barbed wire, when the Niloufar’s mother feels pregnancy pain (her husband is determined to get a son). However, sensing this, the army men put mines on the path. The situation becomes dangerous as the marriage date of Niloufar nears and leads to a tense climax.
True Noon reminds one of a famous short story in Malayalam: Nalam Lokam (The Fourth World) written by NS Madhavan. It deals with the problems take place in a space shuttle, jointly launched by India and the then USSR, after the fall of the Soviet Republic. But the film is not as satiric as the story.
Reservation: Official versus People’s
More people arrived at IFFK 2009 on the second day. At least in some places, tempers started to fray. People are still to come into terms with the advanced reservation facility. In most places, not all people who reserve seats in the balcony bother to turn up. This led to many vacant seats in balcony; that too, when unreserved people are sitting in the front row, craning their necks upwards to watch the movie.
People soon learnt about this aspect somehow. Today before the screening of True Noon, some people demanded entry into the balcony even though they do not have a reservation. They actually tried to force their way in. It led to some angry arguments between the staff and the delegates. Perhaps, it is a fitting introduction to a film that deals with the trouble that an official decision brings to people!
However, the problems here are absolutely not the fault of the organizers. They have done well to provide even a simple sms reservation facility. Perhaps, they should start a cancellation facility too. I think they should also ban further reservation option of those people (at least a ban of one or two days) who do not turn up after reserving a balcony seat.
Broken Embraces: A Typical Almodovar Film
IFFK 2009 Day 2 Evening
Perhaps it is the high expectation. I must say that Broken Embraces does not create the same kind of magic that some of the previous films of Almodovar created in previous IFFKs. By no means is this an ordinary film. Everything that we have seen from Almodovar is there; but only those things, not anything beyond. We are becoming too familiar with the celluloid phenomena of the so-called planet Pedro.
The story revolves around a writer-director who has become blind and, in his own words, “has become his pseudonym”. As we watch the film, the gripping story of how he has become blind and his pseudonym unravels. It would be an injustice if it is reduced it to the storyline. (Interested people may check the Wikipedia article here). I have to say that the story does not have the sharpness or complexity of some his previous films. However, there are some typical Almodovar moments in the movie: beautiful frames, a natural flow of sequences that only the masters’ films possess, characters with strange and intertwined history,another film within the film, and sharp and witty dialogues.
Judging by the response of the audience, soon we may witness the formation of an Almodovar fans association in Thiruvananthapuram. There were thunderous clapping when his name appeared on the screen and when particularly spectacularly scenes appeared on the screen. Penelope Cruz too seems to have her own share of admirers as her introduction too was received in the manner usually reserved superstars in Malayalam and Tamil.
Next I am going to Kairali for watching my first Competition Section film in this year’s IFFK: True Noon, a Tajikistan film directed by Nosir Siadov.
Perhaps it is the high expectation. I must say that Broken Embraces does not create the same kind of magic that some of the previous films of Almodovar created in previous IFFKs. By no means is this an ordinary film. Everything that we have seen from Almodovar is there; but only those things, not anything beyond. We are becoming too familiar with the celluloid phenomena of the so-called planet Pedro.
The story revolves around a writer-director who has become blind and, in his own words, “has become his pseudonym”. As we watch the film, the gripping story of how he has become blind and his pseudonym unravels. It would be an injustice if it is reduced it to the storyline. (Interested people may check the Wikipedia article here). I have to say that the story does not have the sharpness or complexity of some his previous films. However, there are some typical Almodovar moments in the movie: beautiful frames, a natural flow of sequences that only the masters’ films possess, characters with strange and intertwined history,another film within the film, and sharp and witty dialogues.
Judging by the response of the audience, soon we may witness the formation of an Almodovar fans association in Thiruvananthapuram. There were thunderous clapping when his name appeared on the screen and when particularly spectacularly scenes appeared on the screen. Penelope Cruz too seems to have her own share of admirers as her introduction too was received in the manner usually reserved superstars in Malayalam and Tamil.
Next I am going to Kairali for watching my first Competition Section film in this year’s IFFK: True Noon, a Tajikistan film directed by Nosir Siadov.
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