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Mumbai Film Festival – Our annual movie ritual is on. And like every year, we are going to cover the Festival like nobody else does it. Team moiFightClub will bring you all the day’s reccos and reviews. We are also involved with the fest this year – helping wherever you can to make it better.

Our Day-1 Wrap is here.

Amma and appa

What’s the time in your world?

(Dir: Safi Yazdanian, Iran): A rare Irani film that paid more attention to aesthetics, form, and style over plot. And what a delight this anomaly turned out to be! Dealing with memories of Goli (played by enchanting Leila Hatami of ‘A Separation’ fame) who has returned to Iran after many years in France, the film opens up more into a poetry piece. Abstract imagery, dialogue that feel like snatches from a dream (non-sequitar, funny, puzzling), stunning frames & playback music, and the bitter-sweet play of fractured memories – all combined to make it a demanding but genuinely rewarding watch. Goli meets a man (played by Ali Mosaffa, the lucky real-life husband of Leila Hatami) on her return who seems to remember a lot about her while she doesn’t recognise him at all and most of the film is about the relationship these two people share – which to me looked like our relationship with nostalgia. The way we avoid the past and the way it still pops out from every corner of a city that was ours once but not anymore is portrayed through multiple metaphors.

The film reminded me a bit of another Leila Hatami starrer, Ali Mosaffa directed ‘The Last Step’ which I watched at Osian’s Fest a few years ago. Another abstract (though that had a well-defined plot), stylised, brilliant Irani film which never made it to the (as Mihir Fadnavis puts it) ‘communist shores of torrents’.

- @varungrover

Vessel

Diana Whitten’s debut documentary Vessel is a empowering story of a bunch of women helping women to have safe abortion on ship lead by the rebellious Dutch Physician Rebecca Gomperts under the pro abortion rights organization ‘Women on waves’.  These women challenge and fight law (that makes abortion illegal in most of European countries), society, religion and God that doesn’t allow a woman basic human right of what is happening with their bodies. As they sail with the ‘Murder Vessel’ through shores of Ireland, Poland, Portugal they face extremes reactions by the church, the ‘pro life human’, older and younger men and women, and negative publicity by the press citing their practice as illegal. The Portuguese government even forbids them from entering their national water because they are ‘threat to the country’. The meltdown moments are when you are exposed to real words of women who are begging to get rid of life within them that only means suffering in their respective circumstance. As one says ‘I feel terrible.. Am I a monster? I cant have the baby’. Some are raped, some deserted by man, some don’t want it. Their choice.

No! Abortion is not murder and these women are not fascists and terrorists, the sobriquet awarded to them. At what point in this patriarchal society did man convince women that she can be as emancipated as possible, but eventually a child makes her life complete, even in the liberated first world. The high point in the film is when the fiery Gomperts states, ‘to change the world, you have to be offensive’ and struts her SAFE ABORTION banner right under the nose of The Virgin statue at El panecillo. Yes! Mary, the virgin mother.

My body! My right! So f*** you if your religion and law has a problem with that.

Elephant Song

Charles Biname adapts Nicholas Billon’s play ‘Elephant song’ in an engaging suspense drama that tells an intriguing tale of a lunatic patient, Michael playing a psychological game with an Asylum psychiatrist when a colleague goes missing. The story unfolds to explain why “hope is the worst thing you can give a child if you can’t keep up your words”. A traumatic childhood incident explains Michael’s fascination with Elephants. A song that reminds him of his mother that ignored him for better things in life.

He lets her die and sings the Elephant song to her in her last moments. The translation to Elephant song would be my favorite words by Poet Philip larkin’s ‘This be the verse’

They fuck you up, your mum and dad.

They may not mean to, but they do.

They fill you with the faults they had

And add some extra, just for you.

But they were fucked up in their turn

By fools in old-style hats and coats,

Who half the time were soppy-stern

And half at one another’s throats.

- @shazarch

Amma & Appa

Stop motion, Illayaraja’s music, German bride & Tamil groom, Love marriage, candid Meet the Parents situations, 8mm footage, a real story. A hybrid documentary with beshumaar entertaining, endearing moments & more masala than some of our films. Take a bow Dear Franziska & Jai. Jaykrishnan. Jay’s mother should be cast NOW in more films. Highly recco’d.

Elephant Song 

Though everyone criticized Xavier Dolan’s acting, I didn’t particularly find his performance as ‘hammy’. A psychiatrist has to work with a patient to unearth info about a missing colleague, while the film also intercuts to flashbacks, multiple pov and an interrogation. This one was pretty riveting thriller with twists unfolding at each turn. Though I felt Bruce greenwood could have been a ‘stronger’ character. And it’s always a pleasure to see Carie Ann Moss & Catherine Keener.

Field of Dogs

The mindfuck trailer notwithstanding – this film delivered little as compared to the promises it made. Politics, Literature, Dystopian lifestyle, Dreams, impressive visuals (especially like the hal chalana scene in a supermarket alley – capitalism ki maa ki aankh probably) – the film has so much going for it but it crosses the line and becomes over indulgent and soporific. I will be grateful to someone who explains me the point of this film.

United Passions

The making of FIFA federation – from it’s inception nearly a century ago to 2010 where South Africa was nominated as the venue of the next World cup – this one is an episodic film with three protagonists -a passionate Gerard Depardieu, Sam Neill (yes yes Jurassic Park wala banda) and a greasy Tim Roth. With montages punctuating the screenplay, it is hard at times to follow the ‘story’ and one cannot help but marvel at the production design and scale of this big budgeted biopic of sorts. As someone who is not a football fan, I quite enjoyed this film – however disjointed it might have been.

- @nagrathnam

Field of Dogs

Lech Majewski’s follow up to the masterful “The Mill and the Cross” is an absolute disappointment. The indulgence is not even the problem here. The problem in my opinion is the verbose nature of philosophising randomness to form a story. Visually as well as thematically it had a lot going for it but sadly it’s a mess.
Optional end: What a waste of time (and for many others, joints)

- @mihirbdesai

The Good Lie

The story of Africa is not one that can be told simply. Neither is it a simple story.The Good Lie unfortunately tries hard to simplify it and even achieves that. Communities and families are destroyed in the Second Civilian War of Sudan while a bunch of kids manage to escape and find shelter in a refugee camp where they spend 13 years waiting for an opportunity to get away to better pastures. They are finally sent to the US where they are helped with home and jobs. And after a point family reunions as well. Melodramatic, simplistic and populist, the film takes no stand moral or political to the closer conflict or the larger context of colonisation. What begins as a hopefully refreshing and Chinua Achebe-like empathic peek into the lives of native Africans quickly becomes a tear-jerking saga of poor Africans needing to be saved by the white men. The only difference is in the past it was the British, now it is the Americans. The film seems to have bought the white man’s burden so seriously it even shifts points of views completely at one point and turns the African into a Suppandi-like simpletons, poor archaic villagers totally clueless of the awesomely progressive and modern Western world – the Holy Grail. I could have forgiven the populism and melodrama and even simplistic nature of writing if not for this, because the performances and relationship dynamics were indeed moving. But, then there are somethings that cannot be excused and one of them is a warped world-view.

Beloved Sisters

A long drawn-out but meticulously crafted rhapsody of love, longing and betrayal. It is based on the speculated relationship between German writer-poet Friedrich Schiller (1759-1805) and the Lengfeld sisters. An out and out period piece that does not allow the limitations of its genre to constrict its form and hence making it a delightfully rich film. It is set in the post-Enlightenment period of Europe and the society is in transition. Education is increasing and literature is flourishing as technology is advancing. This constantly changing backdrop makes for a fabulously apt context for the love-lifes of the sisters and Schiller, all three in love with the idea of love and its consequent pain that travel its arduous ups and downs bravely. The long-winded film (and the length does get taxing after a point) traces the relationships of each, the almost incestuous passion of the sisters for each other, and their relationship with Schiller over time gently and with care, never taking sides and never easing a blow, be it in portraying the intensity of passion or pain. It is gorgeously mounted, almost like an Impressionist painting without overdoing the glamour or allowing it to overpower the content which is beautifully supported by its lead actors. However, and this is a grouse, a film about letters and of men of letters takes words too seriously and speaks to us a lot, first through third-person voice-overs then first person and even resorting at one point at having the characters speak to the camera (which is actually interesting especially for a period film.) After a point, there is too much information and too much of talking for us to really feel the grandness of the love between the three or the pain of the lost promises never to be fulfilled..

Killa

Shall I call it heart-warming? Moving? Funny? Intuitively innocent yet understanding? There isn’t one word because Killa is so much more than these words. It is the journey of a boy grappling with the death of his father two years back and the consequent constant change of environment. It is the story of his mother, a single woman, gritty and upright, determined to ensure she is now the father and mother to her only son. It is also the story of struggle and survival fo very common people-children and aged alike, of human triumph, of courage, friendship, loyalty and finding light at the end of the tunnel…Beautifully shot and heartfelt in every detail, Killa is a fabulous directorial debut of Avinash Arun, a cinematography graduate from FTII who is known back home for his humility and gentleness among other things. And among peers in the industry for his cinematic acumen and talent. I will not shy away from saying I was proud to be watching a sparkling debut of one my alumnus but rest assured, the cheering was strictly because it was so well-deserved.

 – @Fattiemama

National Film Development Corporation (NFDC) has announced 32 finalists for the Co-Production Market to be held during Film Bazaar in Goa from November 20-24, 2014.

The 32 finalists in the Co-production Market, hoping to attract funding and distribution from potential co-producers, distributors and sales agents from across the globe, include 18 projects from India and 14 from overseas.

 Among the 18 Indian finalists, six are from the Screenwriters Lab 2014:

  • By/Two – Directed byDevashish Makheja and produced by Dutta Dave
  • The School Directed by Suchita Bhhatia and produced by Vivek Kajaria
  • Blossoms (Pallavi)- Directed and produced byNila Madhab Panda
  • Nuclear Hearts- Directed by Bornila Chatterjee and produced by Tanaji Dasgupta
  • Seven (Saat)- Directed byAshish Bende and produced by Suhrud Godbole
  • Medium Spicy- Directed by Mohit Takalkar and produced by Nikhil Mahajan
  • The Invisible One- Directed by Amit Datta and produced by Anjali Panjabi
  • Ashwathama – Directed by Pushpendra Singh and produced by Sanjay Gulati
  • Rainbow- Directed by Shona Urvashi and produced by Raman Lamba
  • Overcoat- Directed by Abhijeet Singh Parmar and produced by Rishebh Batnagar
  • Mantra- Directed by Nicholas Kharkongor and produced by Rajat Kapoor
  • The Indian Prisoner -Directed and produced by Shashwati Talukdar
  • The Boyfriend– Vidur Nauriyal and Ashim Ahluwalia
  • Winter- Aamir Bashir
  • Char Log Kya Kahenge– Hitesh Bhatia
  • Flow – Vandana Kohli
  • All about Her– Ruchi Joshi
  • The Sunset Club– Karan Tejpal

The 14 international projects to be showcased in the eighth edition of the Film Bazaar Co-Production Market include two films from the US, two from Sri Lanka,  a film from Pakistan, Afghanistan, Nepal, Bangladesh, Norway, France, Germany, Singapore and United Kingdom and an IFP project which is selected through NFDC collaboration with Independent Filmmaker Project, USA.

 

  • Three and a Half- Produced by Mira Nair and directed by Sooni Taraporewala (USA)
  • Interpreter of Maladies – Produced and directed by Amitav Kaul (USA)
  • Minefield- Directed by Shiladitya Bora, the PVR Rare head and produced by the award winning Sri Lankan filmmaker Prasanna Vithanage (Sri Lanka)
  • Womb – Directed by Nishantha Shanthadeva and produced and Rasitha Jinasenaby (Sri Lanka)
  • The Judgement- directed by Sabiha Sumar and produced by Sachithanandam Sathananthan (Pakistan)
  • Summer with Azita- directed by Fazila Amiri and produced by Paul Lee (Afghanistan) 
  • Abomination- directed by Karan Shrestha and produced by Kshitiz Adhiraj (Nepal)
  • No Land’s Man -directed and produced by Mostofa Sarwar Farooki (Bangladesh)
  • Gilded Cage -directed and produced by Vijay Chandran (Singapore)
  • What Will People Say (Hva Vil Folk Si)- directed by Iram Haq’s and produced by  Maria Ekerhovd (Norway)
  • Goa directed by Jamie Mateus-Tique and produced by Luc Bossi (France)
  • Once Again- directed by Kanwal Sethi and produced by Holm Taddiken (Germany)
  • End Game directed by Geetha J and produced by Ian McDonald (United Kingdom)
  • Colony – Pulkit Datta (IFP Project)

 

The schedule of this year’s Mumbai Film Festival is out. Click here and go to SCHEDULE to access it. It’s according to the venues. And so like every year, good ol’ Kartik Krishnan spent hours and did the Date wise schedule for us. Trust us, date wise schedule is much easier to navigate if you are going to be regular at the fest. Try it. You will thanks us.

Click here to download it directly. Or click on the icon below.

 

If you have scribd account, we are uploading it on scribd too. Click here to go directly on the site.

(Btw here’s the scribd trick – You just need to upload any random document there to get downloading access)

BOLLYBOOK

It’d been a long time since I laughed out loud while reading a book. A really long time. But Diptakirti Chaudhuri’s latest book has just about managed that. I laughed, chuckled, and nodded my head several times in the midst of reading the book. “BollyBook – The Big Book of Hindi Movie Trivia” is Diptakirti’s third book, the first one being one on cricket, and the second being the precursor to BollyBook, “Kitnay Aadmi Thay” (KAT). It was a genre shifting Bollywood book in the sense that it did not chronicle the travails of film making or profile some specific stars, but it just focused on Bollywood trivia and did a fine job of that.

BollyBook is expected to release in October, 2014. The initial idea, as Diptakirti says on his blog (diptakirti.blogspot.in), was to pitch BB (indulge me as I acronymize the book titles) as a sequel to KAT, but then his publisher at Penguin suggested the idea of a combining the two as a comprehensive and definitive book rather than having a sequel. And thus, BB was reborn in a new avatar. Just like some Bollywood characters do, some would say.

With 19 sections and nearly 460 pages that are packed with interesting trivia and more, the book can definitely live up to the claim of being the definitive book of Bollywood trivia. Good, bad, funny, dark, all sorts of trivia make up this book. Written in his inimitable style, often sparkling with humour and wit, the book is a paean of sorts to Bollywood.

Today I may count myself a fan of filmmakers such as Scorscese, Linklater, or Fincher, but my first introduction to cinema came through the works of Manmohan Desai, Yash Chopra, and others. Back then, we didn’t have a VCR or DVD at home. There were no multiplexes. Going to the movies meant walking to the neighborhood theater, 15 minutes away from home, standing in queue for “first day first shows” or “matinee shows” for a 10 or 20-rupee ticket. Satellite (cable) TV was not yet introduced in my little town. Regular TV broadcast used to a mix of very old to medium old movies. Religious festivals often heralded special community-screenings in an open-air environment where a projectionist would “show” the picture on a vertically mounted white chaddar. Regardless of the venue or the medium, we watched in awe as those larger-than-life stories unfolded on the screen. Chitrahaar, the weekly programme showcasing hit Bollywood songs, was our reason for going “TGIF”! This, in essence, is what Diptakirti would call a pre-credit backstory compression (hint: see the book to understand what this term really means) to explain my fascination for Bollywood.

It doesn’t matter whether you’re a 70’s, 80’s, or 90’s kid. The book has something for everyone. The earlier generations will nod their head at the various retro references, while the newer ones will easily connect with the new age trivia. Although the table of contents mentions lists, the book isn’t packed with boring ones, instead many trivia are presented in anecdotal form, with a surprise twist here and there. Did you know for instance that the Tamil Nadu CM Jayalalitha acted as second lead opposite Dharmendra in a movie named Izzat? Or that Dev Anand was an employee of the Indian Postal Service and perchance grew to know of Gurudutt who lived in the same chawl as him and became thick with him? Many more such interesting nuggets fill up the book including those about movies you thought you knew in and out, only to discover that you actually don’t.

A remarkable trait of the book is that it isn’t restricted to mentioning trivia regarding only actors and actresses, but also takes a good look at the others who play an important part in a movie’s success. In a chapter covering regional superstars, for example, the last para brings to fore the most successful crossover by a regional musician who has gone on to make a name for himself in the international arena. A. R. Rahman. That’s who.

bollybook2There’s also a whole chapter devoted to films within films, called Meta. The amount of research the author must have undertaken for this book can be gleaned from this chapter alone where he not only recounts meta and self-referencing films/directors but also points out bloopers!

All trivia and no interestingness makes a dull book. And Diptakirti is no dull author. He makes neat use of quizzes, Honorable Mentions and little Alerts (Eg, Subtle Mythology Alert) to break the pattern now and then. Chapters are also occasionally peppered with photos and posters.

All in all, for Rs. 370 – paperback or Rs. 318 (Kindle), this book packs quite a punch, just like some of our Bollywood films. If you count yourself as a Bollywood fan, this book is a must-have for your bookshelf.

Footnote: Our very own mFC finds a small mention in the section on low-profile debuts of actors.

- @SilverlightGal

(pic courtesy – from Diptakirti’s blog)

The National Film Development Corporation (NFDC) has announced the nine scripts selected for the second edition of the National Script Lab to be running from October 2014 – March 2015.

The first screenwriting workshop will be held from October 1217, 2014 at the Courtyard Marriott, Chakan, Pune, followed by two more workshops and 1 to 1 consultation sessions over the next six months.

Marten Rabarts- Senior Consultant, Training and Development, NFDC; Olivia Stewart- Producer of The House of Mirth, Brassed Off, and script consultant on The Lunchbox and  Rajat Kapoor, writer-director of the much acclaimed Ankhon Dekhi will mentor these scriptwriters one-to-one during intensive residential workshops over the coming six months

Also as part of the National Script Lab program, the screenwriters will be able to attend NFDC’s Film Bazaar 2014 (Nov 2024) to network and introduce their upcoming projects to both the Indian and international film fraternity attending the market.

This year the Script Lab has a special focus on Youth and Children’s stories which feature strongly in the following line up.

 The Selected Writers and Scripts are:

1. Konkona Sensharma – Death In the Gunj

The acclaimed actress and the winner of two National Awards has acted in more than 40 films in Hindi, Bengali and English language.  She co-wrote and directed a short called ‘Naamkaran’ (The Christening) and anticipates this script will be her first feature as writer director, following in a family tradition established by her mother the renowned Film-maker and Actress Aparna Sen.

 2. Ranjeet Bahadur – Oddball

The editor of Rajkumar Hirani’s 3 Idiots, Sudhir Mishra’s Chameli and Ruchi Narain’s  Kal  Ranjeet has done his Post Graduation in film at Satyajit Ray Film & TV Institute, Kolkata, and now turns his attention to writing his first feature.

3. Vicky Barmecha – Naadaan

Vicky has spent the past 2.5 years working as assistant director and postproduction supervisor on Anurag Kashyap’s upcoming Bombay Velvet. He is the older brother of the Udaan actor Rajat Barmecha.

 4. Neha Sharma – Under the Skin

Neha, followed up her filmmaking studies in Capetown, South Africa with the screenwriting programme at FTII Pune. Neha has written dialogues for the TV show Ladies Special and is in active development of several feature films and documentaries. She has honed her craft as an assistant director on films such as The Dirty Picture , Agent Vinod and many others.

 5. Piyush C Panjvani – Idgah

A  Film & Television studies  grad from St. Xaviers IOC Mumbai, Piyush is a multi award winning director/producer of Ad films , shooting around the world for such mega brands as Pepsi and Samsung among others. He is currently developing a documentary on Himalayan shepherds, and will base his debut feature film on a story by Shri Mumchi Prechan.

 6. Abhaya Simha – Bhamini

Based in Bangalore, FTII graduate Abhaya has written and directed three feature films in Kannada and one in Malyalam. His      first feature film, Gubbachigalu won the National Award In 2008 for the Best Children’s Film.

 7. Rigzin Kalon – Neki Kar Kala Kala

The writer-director-producer has worked on shorts, TV , documentaries and feature films, including Ngonsum  a feature set in Ladakh based on short stories by Gabriel Garcia Marquez. Rigzin lives between Mumbai and his native Ladakh, where he is an active figure in the development of this regions emerging cinema scene.

 8. Ruchika Lalwani – A story of Two

Is the writer of Walkaway, an independent American film with Bollywood flair made and released in the USA where she studied Film in New York. Ruchika’s student short film, I’m Afraid I am Hitler was screened and awarded at many international film festivals.

 9. Sudhakar Reddy Yakkanti – Paperweight

An FTII Pune graduate in Cinematography, Sudhakar wrote, directed and shot the short film Ek Aakas, winnning the Special Jury, National Award and in 2010 his documentary short film Duel of Angels  was awarded at the prestigious IDFA in Amsterdam. He also shot Umesh Kulkarnis Deool which won Three National Awards, among a long list of other features as  a cinematographer.

(via press release)

MFF2014  Mumbai Film Festival has unveiled its first line-up for this year’s edition. Though the festival is yet to get its full funding, and you can contribute to it (click here), the organisers are going ahead with the plan of having the fest in whatever budget they manage. And like every year, this year’s first impression is good too.

Key Points

- Date : 14-21st October, 2014

- Venue : PVR Cinemas, Juhu as the main venue and Liberty Cinemas at Marine lines as the satellite venue

- Over 185 films from more than 65 countries to be screened

- USD 200,000 to be awarded as cash prizes

- Celebrated French Actor Catherine Deneuve to be conferred with the Lifetime Achievement award. 

- Special Master Classes by internationally acclaimed cinematographer Christopher Doyle and director-writer Mahamat Saleh Haroun

- Fest to screen Xavier Dolans’ ‘Mommy’ , Mike Leigh’s ‘Mr.Turner’, Ken Loach’s ‘Jimmy’s Hall’, ‘Boyhood’ by Richard Linklater, Dardenne brothers’ ‘Two days, One Night’, Kim Ki Duk’s ‘One on One’, Yoji Yamadas ‘The Little House’, Jean-Luc Godard’s ‘Goodbye to Language’ and ‘Party Girl’ by Marie Amachoukeli-Barsacq

List of films for 16th Mumbai Film Festival

International Competition

  1. Difret

Dir.: Zeresenay Berhane Mehari (Ethiopia / 2014 / Col / 99)

2. History of Fear (Historia del miedo)

Dir.: Benjamin Naishtat (Argentina-France-Germany-Qatar-Uruguay / 2014 / Col / 79)

3. With Others (Ba Digaran)

Dir.: Nasser Zamiri (Iran / 2014 / Col / 85)

4. The Tree (Drevo)

Dir.: Sonja Prosenc (Slovenia / 2014 / Col / 90)

5. Next to Her (At li layla)

Dir.: Asaf Korman (Israel / 2014 / Col / 90)

6. Schimbare

Dir.: Alex Sampayo (Spain / 2014 / Col / 87)

7. Fever

Dir.: Raphaël Neal (France / 2014 / Col / 81)

8. Court

Dir.: Chaitanya Tamhane (India (Marathi-Gujarati-English-Hindi) / 2014 / Col / 116)

9. Macondo

Dir.: Sudabeh Mortezai (Austria / 2014 / Col / 98)

 

Above The Cut

 1. What’s The Time In Your World? (Dar donyaye to sa’at chand ast?)

Dir.: Safi Yazdanian (Iran / 2014 / Col. / 101)

2. She’s Lost Control

Dir.: Anja Marquardt (USA / 2014 / Col. / 90)

3. The Night Is Still Young (La nuit est encore jeune)

Dir.: Indika Udugampola (France-Sri Lanka / 2014 / Col. / 82)

4. Queen Antigone (Vasilissa Antogoni)

Dir.: Telémachos Alexiou (Germany-Greece / 2014 / Col / 93)

5. Musiek vir die Agtergrond

Dir.: Sallas de Jager (South Africa / 2014 / Col. / 124)

6. Party Girl

Dir.: Marie Amachoukeli-Barsacq (France / 2014 / Col. / 96)

7. The Ambassador To Bern (A berni követ)

Dir.: Attila Szász (Hungary / 2014 / Col / 76)

8. The First Summer (O Primeiro Verão)

Dir.: Adriano Mendes (Portugal / 2014 / Col / 105)

 

World Cinema

 1. Field of Dogs

Dir.: Lech Majewski (Poland / 2014 / Col / 97)

2. Corn Island (Simindis Kundzuli)

Dir.: George Ovashvili (Georgia-Germany-France-Czech Republic-Kazakhstan / 2014 / Col / 100)

3. Early Spring, Kyoto (Kyoto, Sosyun)

Dir.: Hiroshi Toda (Japan / 2014 / BW / 90)

4. I Am Not Him (Ben o değilim)

Dir.: Tayfun Pirselimoğlu (Turkey-France-Germany-Greece / 2013-NOV / Col / 127)

5. Gett, The Trial of Viviane Amsalem (Gett)

Dir.: Ronit Elkabetz, Shlomi Elkabetz (France-Germany-Israel / 2014 / Col / 115)

6. Weekends in Normandy

Dir.: Anne Villacèque (France / 2014 / Col / 90)

7. Snow (Barf)

Dir.: Mehdi Rahmani (Iran / 2014 / Col / 90)

8. Clownwise (Klauni)

Dir.: Viktor Taus (Slovakia-Luxembourg-Czech Republic-Finland / 2013-NOV / Col / 120)

10. The Little House (Chiisai Ouchi)

Dir.: Yoji Yamada (Japan / 2014 / Col / 136)

11. One on One (Il-dae-il)

Dir.: Kim ki-Duk (South Korea / 2014 / Col / 122)

12. The Attorney

Dir.: Woo-seok Yang (South Korea / 2013-Nov / Col / 127)

13. Stations of the Cross (Kreuzweg)

Dir.: Dietrich Brüggemann (Germany / 2014 / Col / 107)

14. Jack

Dir.: Edward Berger (Germany / 2014 / Col / 103)

15. Jimmy’s Hall

Dir.: Ken Loach (UK-Ireland-France / 2014 / Col / 109)

16. Coming Home (Gui Lai)

Dir.: Zhang Yimou (China / 2014 / Col / 109)

17. Two Days, One Night (Deux jours, une nuit)

Dir.: Jean-Pierre Dardenne, Luc Dardenne (Belgium-France-Italy / 2014 / Col / 95)

18. The Third Side of the River (La tercera orilla)

Dir.: Celina Murga (Argentina / 2014 / Col / 92)

19. Stratos

Dir.: Yannis Economides (Greece-Germany-Cyprus / 2014 / Col / 137)

20. Inbetween Worlds

Dir.: Feo Aladag (Germany / 2014 / Col / 98)

21. Turner

Dir.: Mike Leigh (UK / 2014 / Col / 150)

22. The Captive

Dir.: Atom Egoyan (Canada / 2014 / Col / 112)

23. Mommy

Dir.: Xavier Dolan (Canada / 2014 / Col / 139)

24. Still The Water (Futatsume no mado)

Dir.: Naomi Kawase (Japan-Spain-France / 2014 / Col / 121)

25. Norjmaa

Dir.: Bayaneruul Bayaneruul (China / 2014 / Col / 102)

26. Over Your Dead Body

Dir.: Takashi Miike (Japan / 2014 / Col / 93)

27. Refugiado

Dir.: Diego Lerman (Argentina / 2014 / Col / 93)

28. Farewell (A Despedida)

Dir.: Marcelo Galvão (Brazil / 2014 / Col / 90)

29. The Good Lie

Dir.: Philippe Falardeau (USA / 2014 / Col / 110)

30. Boyhood

Dir.: Richard Linklater (USA / 2014 / Col / 165)

 

Rendezvous

 

  1. French Riviera (L’homme qu’on aimait trop)

Dir.: André Téchiné (France / 2014 / Col / 116)

 

  1. Metamorphoses

Dir.: Christophe Honoré (France / 2014 / Col / 102)

 

  1. Girlhood (Bande de filles)

Dir.: Céline Sciamma (France / 2014 / Col / 112)

 

  1. Goodbye To Language – 3D (Adieu Au Langage)

Dir.: Jean-Luc Godard (France / 2014 / Col / 70)

 

 

  1. The Search

Dir.: Michel Hazanavicius (France-Georgia / 2014 / Col / 149)

 

  1. The Blue Room (La chambre bleue)

Dir.: Mathieu Amalric (France / 2014 / Col / 76)

 

  1. Clouds Of Sils Maria (Sils Maria)

Dir.: Olivier Assayas (Switzerland-Germany-France / 2014 / Col / 124)

 

  1. Saint Laurent

Dir.: Bertrand Bonello (France / 2014 / Col / 135)

 

  1. Life of Riley (Aimer, boire et chanter)

Dir.: Alain Resnais (France / 2014 / Col / 108)

 

The Real Reel

 

  1. Red Army

Dir.: Gabe Polsky (USA-Russia / 2014 / Col / 76)

 

  1. The 50 Year Argument

Dir.: Martin Scorsese, David Tedeschi (USA / 2014 / Col / 97)

 

  1. The Master Shyam Benegal

Dir.: Khalid Mohammed (India / 2014 / Col / 60)

 

  1. Mashti Esmaeil

Dir.: Mahdi Zamanpoor (Iran / 2014 / Col / 60)

 

  1. Mission Rape – A Tool of War

Dir.: Annette Mari Olsen, Katia Forbert Petersen (Denmark / 2014 / Col / 61)

 

  1. Altman

Dir.: Ron Mann (Canada / 2014 / 95)

 

  1. Iranian

Dir.: Mehran Tamadon (France-Switzerland-Iran / 2014 / Col / 105)

 

  1. Playing with Fire (Paizontas me ti fotia)

Dir.: Anneta Papathanasiou (Greece / 2014 / Col / 80)

 

  1. Lessons in Dissent

Dir.: Matthew Torne (UK-Hong Kong / 2014 / Col / 98)

 

  1. Vessel

Dir.: Diana Whittien (USA / 2014 / Col / 88)


Retrospective of Russian films

 

  1. Alexander Nevsky

Dir.: Sergei Eisenstein (Russia / 1938 / B&W / 112)

 

  1. Ballad of a Soldier

Dir.: Grigoriy Chukhray (Russia / 1959 / B&W / 88)

 

  1. Dersu Uzala

Dir.: Akira Kurosawa (Russia-Japan / 1975 / Co / 144)

 

  1. Andrei Rublev

Dir.: Andrei Tarkovsky (Russia / 1966 / Col & B/W / 205)

 

  1. Moscow Does Not Believe In Tears

Dir.: Vladimir Menshov (Russia / 1979 / Col / 142)

 

  1. Rider Named Death

Dir.: Karen Shakhnazarov (Russia / 2004 / Col / 106)

 

  1. The Fought for Their Land

Dir.: Sergey Bondarchuk (Russia / 1975 / Col / 137)

 

  1. War and Peace

Dir.: Sergei Bondarchuk (Russia / 1968 / Col / 427)

 

  1. Several Days of Oblomov’s Life

Dir.: Nikita Mikhalkov (Russia / 1979 / Col / 140)

 

  1. White Tiger

Dir.: Karen Shakhnazarov (Russia / 2012 / Col / 104)

 


India Gold 2014

 

  1. The Fort (Killa)

Dir.: Avinash Arun (India (Marathi) / 2014 / Col / 107)

 

  1. Unto the Dusk

Dir.: Sajin Baabu (India (Malayalam) / 2014 / Col / 118)

 

  1. Names Unknown (Perariyathavar)

Dir.: Dr. Biju (India (Malayalam) / 2014 / Col / 110)

 

  1. Buddha In a Traffic Jam

Dir.: Vivek Agnihotri (India (Hindi) / 2014 / Col / 107)

 

  1. Fig Fruit and The Wasps (Attihannu mattu kanaja)

Dir.: M S Prakash Babu (India (Kannada) / 2014 / Col / 90)

 

  1. Rangaa Patangaa

Dir.: Prasad Namjoshi (India (Marathi) / 2014 / Col / 105)

 

  1. Siddhant

Dir.: Vivek Wagh (India (Marathi) / 2014 / Col / 130)

 

  1. Chauranga

Dir.: Bikas Mishra (India (Hindi) / 2014 / Col / 88)

 

  1. Munnariyippu

Dir.: Venu (India (Malayalam) / 2014 / Col / 118)

 

  1. The Pulsating Mindscape (Jeeya Jurir Xubax)

Dir.: Sanjib Sabhapandit (India (Assamese) / 2014 / Col / 134)


New Faces In Indian Cinema

 

 

  1. An Obstacle (Khwada)

Dir.: Bhaurao Karhade (India (Marathi) / 2014 / Col / 117)

 

  1. The Punishment (Kuttram Kadithal)

Dir.: Bramma G. (India (Tamil) / 2014 / Col / 116)

 

  1. Dombivli Return

Dir.: Mahendra Teredesai (India (HindI-Marathi) / 2014 / Col / 129)

 

  1. Teenkahon

Dir.: Bauddhayan Mukherji (India (Bengali) / 2014 / Col & B/W / 120)

 

  1. Nagrik

Dir.: Jayprad Desai (India (Marathi) / 2014 / Col / 120)

 

Dimensions Mumbai

 

  1. Short Film

Dir.: Sagar Kolte

 

  1. Zor Lagake Haisha

Dir.: Rithvik Dilip Joshi

 

  1. Selfie

Dir.: Ramchandra Gaonkar

 

  1. Bombay 70

Dir.: Nisha Rindani

 

  1. The Crowman

Dir.: Pratik Shetty

 

  1. Marine Drive

Dir.: Romil Dilip Motta

 

  1. Interval

Dir.: Utkarsh Raut

 

  1. Sawari

Dir.: Pushpak A Jain

 

  1. Jeevachi Mumbai “City of Life”

Dir.: Natasha Nayak & Riya Sharma

 

  1. Gilberi

Dir.: Omar Iyer

 

  1. Bumbhaiyya

Dir.: Kushagra Sharma

 

  1. Majha Honeymoon

Dir.: Karan Asnani

 

  1. Bollywood Bazar

Dir.: Shreyash Shinde

 

  1. Mahanagari-Super City

Dir.: Yashowardhan Mishra

 

  1. Time’s Equation

Dir.: Kavi Kumar Shrivastav

 

  1. Rumana Manzil

Dir.: Tanay Sarda

 

 

  1. Boundary

Dir.: Abhiraj Rajadhyaksha

 

  1. Dariyo

Dir.: Nihar Desai

 

  1. Unfit

Dir.: Srishti Jain

 

  1. Chataiwala

Dir.: Keyur Kajavadara

 

Film India Worldwide

 

  1. Amar Akbar & Tony

Dir.: Atul Malhotra (UK / 2014 / Col / 93)

 

  1. Amma & Appa

Dir.: Franziska Schönenberger, Jayakrishnan Subramanian (Germany / 2014 / Col / 89)

 

  1. Honeycomb Lodge

Dir.: Lesley Manning (UK / 2014 / Col / 93)

 

  1. Echoes

Dir.: Rajesh Shera (India-UK / 2014 / Col)

 

Venice Film Festival has announced the winners for this year’s fest. And here’s the good news – Chaitanya Tamhane’s debut feature Court has bagged the “Lion Of The Future – Luigi De Laurentiis” Award for a Debut Feature. It premiered in Orizzonti section of the fest. The Jury was chaired by Alice Rohrwacher and comprised of Lisandro Alonso, Ron Mann, Vivian Qu and Razvan Radulescu.

It also includes cash prize of 100,000 USD, donated by Filmauro di Aurelio e Luigi De Laurentiis to be divided equally between director and producer. Court has also got the Best Film in the Orizzonti section. This Jury was chaired by Ann Hui and composed of Moran Atias, Pernilla August, David Chase, Mahamat-Saleh Haroun, Roberto Minervini and Alin Tasçiyan. The section had 29 films in competition.

Click here to read Chaitanya’s interview on making of Court.

Last year, Shubhashish Bhutiani’s Kush had won the best short at Venice Film Festival.