20th edition of International Film Festival of Kerala did have an

enticing start today in the thickly packed Nishagandhi Auditorium. Oommen Chandy, Chief Minister of Kerala, lighted the traditional lamp followed by Zakir Hussain and Julio Bressane, inaugurating IFFK 2015 in the presence of cine-enthusiats including delegates and special invitees. Chief Minister reminded the audience about the relevance of the Festival as the world has already been

reduced to a global village. Thiruvanchoor Radhakrishnan, Minister for cinema, delivered the presidential address. The key-note address was made by the tabla virtuoso Zakir Hussain.

The world renowned dignitaries present from cinema and cultural fields made the ceremony incomparably colourful and memorable. Nucleus of the function, tabla maestro Ustad Zakri Hussian was honoured by Thiruvanchoor Radhakrishnan, Minister

for cinema. AP Anil Kumar, Minister for Tourism, Shashi Tharoor MP, Palode Ravi, Deputy Speaker, Rani George IAS and Shaji N Karun, festival Director felicitated the function. Jiji Thomson IAS, Chief Secretary, welcomed the audience. T Rajeevnath, Chairman KSCA introduced the festival and jury members to the gathering. S Rajendran Nair secretary KSCA delivered the vote of thanks. Festival Book, IFFK 2015 souvenir, and Daily Bulletin were released. Keerthana Mannayam |

Resonant With Percussive Rhythms The Inaugural Set The Tone Of The Fest

The 20th edition of IFFK will shine a spotlight on Lithuanian films. The

evolution of Lithuanian cinema began from the documentary chronicles, which were created before the First World War and in the period between the wars. Until 1990s Lithuanian cinema was limited to state-funded-art-house-movies which had very limited exposure in Lithuania itself since Lithuanians are not avid cinema goers. Lithuanian film industry made a spectacular come-back in 2010s with the emergence of small production houses and through exploring the possibilities of co-production. Lithuanian cinema has just begun to revive, it has started to use its own voice, close to life approaches, delving into the areas of the underclass, and reaching to the recent history of Soviet occupation.

IFFK will showcase 5 prominent Lithuanian films in the Country Focus section. Feelings directed by Algirdas Dausa is a drama of sea-coast fishermen's passions. The film is

The Crests And Troughs Of Lithuanian New Wave

notable for its psychological treatment and cinematography. It was banned in Soviet Union except Lithuania. Arunaz Zebriunas’ The Beautiful girl explores the theme of external and inner beauty of humans. Poetic language of the film, its visual metaphors and associations

reveal the necessity of inner beauty in a human being – feelings, dreams, faith and memories. The director focussed not only on the context of cultural life in Lithuania in 60s and 70s but also on the film language. The film stands out for its expressive camera work. Feelings and The Beautiful girl belong to Lithuanian Classic Cinema.

The Lithuanian New Wave is represented by Ignas Jonynas’ The Gambler, Kristina Buozyte’s The Colle-ctress and Audrius Juzenas’ The Excursionist. The Gambler was selected as the Lithuanian entry for The Best Foreign Language Film at the 87th

Academy Awards. The film is a very raw and authentic portrayal of the lives of Lithuanian emergency services personnel. The medium is the message in

Kristina Buozyte's The Collectress where Gaile, a speech therapist, falls in love with her own images. The Excursionist based on a true story portrays the violence and aftermaths of World War II through the eyes of a courageous young girl.

Daily Bulletin Team |

COuNTRY FOCUS

2

Tony Gatlif captu-res the angst of nomads, ref-ugees,

expatriates, ethnicity and the loss of motherland. He was born in Algiers, the capital of Algeria- an erstwhile French colony- to a Romani mother and a Kabyle father. He fled to Paris in 1960 as the bloody struggle for independence grew full-swing in Algiers. Gatlif strove hard to make a break into the film domain for around fifteen years before he could do it. He was unwilling to endorse to the fact that it was his destiny to be a wanderer as he inherits the nomadic traces in his veins. He had been a proud inheritor of the Gypsy culture, which was later on renamed as Romani when the earlier term began to be considered as an address of racial disgrace.

In 1975, he directed La tete en ruines, and completed La terre au ventre in 1979. Through Corre Gitano he started to carve out the life and lifelessness of the Romani culture hard and deep with all its colourful vociferousness. Romanis had, like the Jews, the experience of genocide during the period of Nazi rule. But this was never recorded in any format

as they had no permanent mother/fatherland. In the 80s and 90s he finished some more of his films. Through his work Latcho Drom done in 1993, Gatlif settled down to his later-on-style of narrating a whole film with music and dance; and this film bagged a number of awards in the film festivals around the globe. There are critics who believe that this film is a documentary, even. Gatlif is trying to construct a visual equivalence to the settled sedentary culture by building a visual texture which is absolutely nomadic in spirit. He seems to suggest that journey is home to a nomad. When his Gadjo dilo was screened in the Venice Film Fest, the audience offered a standing ovation at the end of the screening. The hero of the film Stephan gets identified with the Romani culture and in turn with the audience. Gatlif was awarded the best director in Cannes Film Festival for his Exils in 2004. The film does not prompt the viewer to get identified with any of the characters. In 2006, his film Transylvania had world premiere in Cannes Film Festival. In 2009 he did a movie titled Korkoro, which means freedom. This film, based on the observations of the

Romani historian Jacques Sigot, follows the life of a Romani who escapes from the Nazis with help of the French. This film bagged the Grant Prize award in Montreal Film fest. Indignados, done on the basis of the article ‘Time for Outrage’ by Stephan Hessel, simply stunned the world with its offbeat approach in narration and nonlinear organization. The film posits the bedrock question, ‘Where is humanity leading itself to?’ He reminds us of the critical edge where the ideals like peace and democracy have been led to. His 2014 film Geronimo taunts the audience with its novel and rapid narrative technique. In Locarno Festival Geronimo was honoured with the Piasse Grand award. Gatlif has made his mark distinct with the anguish of gypsydom, refugee issues, loss of one’s motherland and cultural hybridization. “I follow my own path; I realize my films”, says Gatlif. He does not glorify the nomads in his works, but upsets the common sense of the world which tends to forget that they, too, are humans.

Translated by mammed montage

GP Ramachandran |

Reconstructing ADestiny

Foredoomed

05th December 20153

Film festivals are said to be intermittently gratifying and frequently maddening

events. Films are being viewed in marathon sessions in different categories viz International competition, World cinema, Regional cinema, Retrospectives, Homage, etc.

There is a claim that out of hundreds of films shown in the festivals only a few are outstanding or ‘good to great films’ that have value to cinema culture. In fact the festival programmers can use their role as gate keepers to strategically challenge dichotomous valuations of films as either art or commerce and to facilitate ways of looking that allow for different nationalistic models of homogeneity. Curators with a taste are needed to define the future directions of our film culture. Festivals do not just showcase films, they actively build audience and communities. The success or otherwise of a film festival

depends not only on the availability of the well curated films but also the way in which the festival is conducted. In its 19 years of existence IFFK has managed to carve out a niche for itself with the kind of films we have screened. What difference can the audience expect from the upcoming edition?

In this edition the Chalachitra Academy has a mix of films that address a range of subjects. Films based on true stories in the curated section, First Look, curated Section of debut films, Women Power, Films depicting women as protagonists, Restored Classic films from National Film Archives, Korean Panorama, Cross section of contemporary Korean Films, Three films on Jury Films section, Six 3D Films viz Wolf Totem, Martian, Life of Pi, Love, Pan and Everything will be fine, Films by Lifetime Achievement Awardee Dariush Mehrjui, Five Lithuanian films

and two Myanmar films in the Country Focus. Besides the usual international competition with 14 films, World cinema, Malayalam cinema today, and Indian cinema now are parts of this edition.

The delegates can choose 30 to 40 films from around 190 films to suit their timings. I shall try to underline certain films which I feel are having some quality. For the day one(5th Nov) you can make a try on the films: Mountains May Depart, Wondrous Boccaccio, Diary of a Chambermaid, Degrade, Sweet Red Bean Paste, Francofonia, Trap, Margurite, and The Measure of a Man.

A festival buff friend of mine wondered

why we still call these festivals ‘film’ festivals? In this post-celluloid era where almost all movies

are screened in the digital format, isn’t it better we call them moving image festival or something like that? True, the digital has revolutionized the way we imagine, image, produce, process, distribute, exhibit, watch and share moving images. By film, my friend obviously meant the celluloid cinema, which automatically evokes all kinds of nostalgic feelings – of loss, luminosity, and love for the projected images and community viewing.

Today, several other media entertainment formats and gadgets have usurped contemporary films of the pleasures they offered and the

attention they demanded. As a result, films too seem to be struggling with an identity crisis of sorts, the new formats mindlessly multiplying and ‘diluting’ cinematic experience through ever sleeker gadgets, but also spreading it to hitherto impenetrable corners of society. But the magic of cinema endures in its big screen experience and the physical presence of the audience, as against the ever increasing customization and personalization of the new gadgets. Cinema has tried to counter this assault by making itself spectacular, coaxing the viewer to watch them on big screens. Art cinema, on the other hand, experimented with narrative forms and formats. They seem to ‘live up’ to the challenges of the new media/internet visual world and experience of interactivity, instantaneity, hyperlinks and multiple windows,

by trying out non-linear narratives, multiple screens, portmanteau films etc. These narratives give the viewer the navigating experience similar to internet browsing and multimedia games where one constantly slides from one screen/link to another, in the process, mixing genres, and erasing the boundaries between the virtual and the real. There is also an effort to reassert and re-create the experience of Reality by creating a meditative pace in film. Filmmakers like Apitchatpong Weerasethakul, Tsai Ming-Liang, Lav Diaz etc invite the viewers into a totally different pace, freed from the Beginning-Middle-End prisons of linear narratives. That they are all from Asia is an indicator of a gradual but definitive shift in World cinema, and also in film aesthetics, which sadly is yet to receive the theoretical attention it deserves.

Cinema-Celluloid Ecstacy

CS Venkiteswaran |

A MeeraSahib |

To Digital Meditations

Reflections on film festivals

4

PRESS MEET12PM | Tagore Theatre

MEET THE DIRECTOR3 PM | Tagore Theatre

PANEL DISCUSSION4pm-5pm | Executive Launch, Mascot HotelCensoring and Freedom of Expression

The Nishagandhi auditorium was literally enchanted by the magical fingers on tabla renderings by the legendary Ustad Zakir Hussain at the inaugural ceremony of 20th edition of international Film Festival Of Kerala. The adept beats made by the magically rich fingers of Zakir Hussain was accompanied by the Sabir Khan’s own Sarangi. The event presented an ever-memorable instant for everyone gathered in the auditorium. The programme commenced after the inaugural ceremony of IFFK. Through his tabla, Zakir Hussain created the musical chants by composing the sounds of ‘rain’ , ‘deer in the forest’, ‘human conversations’ etc., which were received with ovation from the audience. As he poetically stated in his key-note address, he succeeded in ‘speaking through his instrument’. The spellbinding performance lasted for more than 30 minutes.

Amala T Chacko |

Musical Magic Incarnate

IN CONVERSATION WITH5pm-6 pm | Tagore Theatre Mr.Julio Bressane, Chairman, International Jury by Mr Pradeep Biswas

MASTER CLASS on Screen play3pm-4pm | Executive Launch, Mascot HotelMr. Martin Sherman

JUgALbANDHI FESTIVAL 6.30pm | Balabhavan Auditorium

MOHINIyATTAM6.30pm | Kanakakkunnu Palace

FILM SCREENINg 7pm | Manaveeyam VeedhiAbout EllyIran/2012/Colour/119’/PersianDirector: Asghar Farhadi

EVEN

TS T

ODAY

“Expecting a better organisational mana-gement in scheduling films and seating arrangement in theatres”.

- Binduja, Journalism student

“Increased number of seats will encourage more participants. Hope this time academy will rectify its previous fallacy and make the fest much better.”

-Aravind K.S., Film Student

Delegates Column

Snaps from the flash-binding opening of 20Tth Edition of IFFK at Nishagandhi Auditorium

05th December 20155

Festival Director T Rajeevnath, Chaiman KSCA Editorial Board Chairman J Ajith Kumar Convenor Renji Kuriakose Coordinator Jayanthi Narendranath Chief Editor S Rajendran Nair, Secretary KSCA Executive Editor Sadeesh Chalippadam Associate Editor Mammed Montage Assistant Editor TM Hisham Sub Editor Haris Nenmeni Reporters Amala T Chacko, Jayasree C, Keerthana Mannayam Stills Ajay Saga, Shijin V K Design & Layout Shabeer M P Layout Assistant Saeed Fasal Printing Akshara Offset, Thiruvananthapuram Editorial Support Haris Kormath

Printed & published by S Rajendran Nair, Secretary, Kerala State Chalachitra Academy, Thiruvananthapuram on behalf of the Department of Cultural Affairs, Govt of Kerala.

C´‑yb‑ne‑p‑w Cd‑m\‑ne‑p‑w \hXc‑wK‑w

BªS‑n¡‑m³ X‑pS§‑nbX‑v Bb‑nc¯‑ns‑X‑mÅ‑mb‑nc¯‑n Fg‑p]X‑pIf‑ps‑S BZ‑y]‑mZ¯‑ne‑mW‑v. I‑rX‑ya‑mb‑n ]dª‑m ‑, 1969‑Â. C´‑yb‑n a‑rW‑mÄ s‑k¶‑ns‑â "`‑ph³ t‑j‑m‑'a‑p‑w aW‑n I‑uf‑ns‑â ‑"Dk‑vI‑n t‑d‑m«‑n' b‑p‑w ]‑pd¯‑ph¶X‑v B hÀja‑mW‑v. At‑X hÀja‑mW‑v Cd‑m\‑n Z‑mc‑nb‑pj‑v s‑alÀP‑pb‑nb‑ps‑S "I‑u‑' F¶ N‑n{‑Xh‑p‑w k‑w`h‑n¨X‑v. F¦‑ne‑p‑w‑, Cc‑pc‑mP‑y§f‑ns‑eb‑p‑w k‑n\‑naIÄ¡‑p‑ X½‑n I‑mc‑ya‑mb Hc‑p h‑yX‑y‑mk‑w N‑qï‑n¡‑m«‑m\‑mh‑p‑w. "I‑u' h‑n\‑p t‑ija‑mW‑v Cd‑m\‑nb³ k‑n\‑na t‑e‑mIk‑n\‑na‑m`‑q]S¯‑n CS‑w t‑\S‑p¶X‑v. F¶‑mÂ‑, C´‑y³ k‑n\‑na AX‑n\‑p‑w ]X‑n\‑me‑p s‑I‑mÃ‑w a‑p³]‑v Xs‑¶ A´‑mc‑m{‑ã Xe¯‑n A‑wK‑oIc‑n¡s‑¸«‑p Ig‑nª‑nc‑p¶‑p. kX‑yP‑nX‑v d‑mb‑nb‑ps‑S "]s‑YÀ ]‑m©‑me‑n‑'b‑mW‑v AX‑n\‑p X‑pS¡‑w I‑pd‑n¨X‑v. X‑pSÀ¶‑ph¶ H‑mt‑c‑m d‑mb‑v N‑n{‑Xh‑p‑w t‑e‑mI‑w I‑m¯‑nc‑p¶‑p Iï‑p. C¡‑meL«¯‑n Cd‑m\‑nb³ k‑n\‑na ]‑n¨h¨‑v X‑pS§‑p¶t‑Xb‑pï‑mb‑nc‑p¶‑pÅ‑q. Cd‑m\‑n k‑n\‑na c‑q]s‑¸S‑p¶X‑n\‑p a‑p¼‑pXs‑¶ C´‑yb‑n iàa‑mb Ne¨‑n{‑Xk‑wc‑w`‑§f‑pï‑mb‑nc‑p¶‑p F¶X‑mW‑v b‑mY‑mÀ°‑y‑w.

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h‑nPbI‑rj‑vW³

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6

Organised By FEDERATION OF FILM SOCIETIES OF INDIA, KERALA

In Association with KERALA STATECHALACHITRA ACADEMY

Ajay Saga

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Daily Bulletin Team |

05th December 20157

Anne Seibel, a French Production Designer who began her career

working on American productions that filmed abroad in France. Anne has keen sensibilities and is an innovative and creative collaborator. She attended Ecole Speciale d’Architecture, DESA in Paris and has a degree in Architecture from the prestigious school.

Anne Siebel did nothing to be what and where she is now. “I have just been myself,” she says.

A rewarding career that started as an Art Director on American productions filmed in France, her work in relishing movies such as ‘Magic In the Moonlight,’ ‘Hereafter,’ ‘Munich,’ and ‘The Devil Wears Prada,’ being sought after by big names like Steven Spielberg and Woody Allen, and an Oscar nomination for

‘Midnight in Paris’ in 2012, which was all probably more of a work of destiny.

As a child, she remembers having planned a stage while playing with her cousin brother or enjoyed setting up props for dances. “Later, I went on to take up study of medicine like most in my family, but moved on to study architecture all the while not realising why am I doing it,” recollects Anne, in Thiruvananthapuram as a resource for ‘IFFK Screen Lab 2015,’ a workshop for technicians held as part of the 20th IFFK.

Even when she was taken to the sets of a film first, she didn’t do much for things to get going. “Now, when I look back, I feel it was all destiny.”

Her intuitive mind has helped at work, though in personal life, the trait has brought her moment of pestering agony.

"There have been times when ideas came during the slow gap between dream and waking up. I have always thought I should write them down."

For a movie like ‘Midnight in Paris’, her approach was to bring forth the subtle sensitivity of the plot. The design had to be done after research into the periods spanned by the film, and the make of its characters and the emotional topography of Paris.

Her knack to get into the skin of the milieu in which the storyline is cast comes boldly across in ‘Road Movie,’ by Dev Benegal, for a Westerner to grasp Indian terrains, the flamboyant splash of colour on vehicles, and the feel of the open road here.

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