The Blog of Cafe Dissensus Magazine – we DISSENT

Posts tagged ‘Film’

‘Smug’: A dystopia of tradition-less existence

By Nabanita Sengupta
In a dark, scary world of collective amnesia stretched to its extreme, the only ray of hope is in form of the little girl who personifies a new beginning. ‘Smug’ raises questions, forces us to think but leaves each of us to find our own answers and undertake our own journeys.

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‘Victor’s History’: A reminder that rewriting history has never been as easy as it has become today

By Murtaza Ali Khan
Directed by a French-American filmmaker, named Nicolas Chevaillier, Victor’s History revolves around a proud son, Victor, who hires an African-Vietnamese investigative journalist, Dorian and an Indian documentary filmmaker, Zuhair in a bid to try and immortalize his late father by making a film about his great achievements. He firmly believes that his father deserves a permanent place in the annals of history.

Film: Women in ‘Lust Stories’

By Prashila Naik
Bhumi Pednekar, a generally fine actress, does wonders with this role. The scene where she serves tea to the two sets of parents and then walks towards the bedroom to serve the younger ‘couple’, is a stunning indictment of how deep-rooted class-divides will continue to remain, even if physical and sexual boundaries are crossed.

‘Watchmaker’: A brave experiment in Indian cinema

By Nabanita Sengupta
Anindya Banerjee in ‘Watchmaker’ does not entertain. He provokes the audience to think. Together with his actors, he raises uncomfortable questions regarding the extremely intangible notion of time and leaves the answer open. ‘Watchmaker’ does not answer any question; it opens up many new ones and therein lies its success. The film is multi-layered, and a brave attempt in Indian cinema to represent the abstract.

Sebastiano Riso’s ‘Una Famiglia’: A meditation on maternity and manipulation in a capitalistic world

By Murtaza Ali Khan
Shades of Michelangelo Antonioni’s cold detachment are evident in the way certain scenes are framed. Consider the scene, shot in a long continuous take, wherein a man hurts a woman’s private parts, just as we see the her begging him to go easy, the camera suddenly takes us outside the house into the everyday monotony as her screams become more and more distant, before returning to the house with the woman now sitting alone on her bed, writhing in agony.

Thoughts, words, memories: ‘Mayurakshi’ and dementia

By Nishi Pulugurtha
In what could be a wonderful film that talks about dementia, the problems associated with it, and the troubles that concern a caregiver, Mayurakshi misses the mark. It misses it not in the portrayal of someone in whom dementia is slowly setting it or in the depiction of the changes that become apparent in the person or in the way people around him react to it or in the way people try to find ways and means of dealing with it. It misses the mark in that it does not refer with greater emphasis to the condition clearly and categorically.

Social Concerns and Human Relationships: The Cinema of K. Viswanath

By Nishi Pulugurtha
In the era when Telugu films, released in the late 1970s and 1980s, were characterized by outlandish costumes and glaring colour, meaningless violence and absence of good plots, Viswanath’s films stood out by their sensitivity and concerns. Viswanath’s films successfully negotiated the chasm between offbeat/parallel cinema and popular films.