By Puja Roy
We chatted over cups of tea and gradually the emotional doors opened. From a lighthearted discussion the mood slowly turned towards a somber and painfully nostalgic recount of an era long forgotten yet very much fresh in the minds of its victim. Mr. Choudhury started speaking, as his wife looked on.
By Arun Kumar
The Two of Us speaks to our inner child and to anybody who has deeply felt the warmth and love of grandparents. Without much preaching or artistic posturing, the film gracefully confers its gentle message about the transcending and irrestible force of love.
By Santosh Kumar
Bauaa Singh’s selection for the Mars mission treats him as an object for the experiment given the fact that there was no certainty to coming back safe to the Earth. The short stature and academic credentials of Bauaa Singh is nullified with his level of endurance. It is disturbing to note that Bauaa Singh becomes a substitute for chimpanzee because of the filmmakers’ want of heroism.
By Murtaza Ali Khan
Vajdovich talks to Café Dissensus Films Editor, Murtaza Ali Khan, about the latest trends in Hungarian cinema, subsidies extended to Indian films shot in Hungary, and the growing popularity of Indian cinema in Hungary.
The Postman’s White Nights (2014) is an elegiac poem about a gradually perishing community. Director Andrey Konchalovskiy’s unforced quasi-documentary approach and perfect realization of this almost mythical atmosphere offers a deeply reflective cinematic experience.
By Arun Kumar
Larisa Sheptiko’s second film Wings (Krylya, 1966) possesses the graceful blend of vicious realism and wistful lyricism, a tone that was preceded by the likes of Mikhail Kalatozov (Cranes are Flying) and followed by the likes of Aleksei German (Trial on the Road, My Friend Ivan Lapshin) and Andrey Konchalovsky (Siberiade).
By Vivaan Shah
The erotic explosion that takes place between Mae and Earl in a kitchen on a tormented hung over morning is one of the most astonishing moments of the 50s. It’s way ahead of its time and more mind-blowing to me than Brando’s emotional explosion in Streetcar.
By Arun Kumar
Even though Kalatozov’s adventure drama, Letter Never Sent (‘Neotpravlennoye pismo’, 1960), gained only sparse international acclaim, it is nevertheless an extraordinary work whose ebullient, kinetic imagery broadened the reach of its thin, simple story.
By MK Raghavendra
David Lynch is a difficult film-maker to write about if one wants to make any kind of rational sense of his work. It is not too difficult reviewing his films since reviewing is usually appreciation that does not commit itself to decipherment, but I don’t believe there has been much writing from film scholars which tells you what his films might mean to the spectators for whom they are meant.
By Prithvijeet Sinha
Devi is an eye-opening, sensuously potent, sometimes harrowing, and ever so unconventional film. It sidesteps mawkish sentimentality to conjure up the ways of the mind, hitting hard at our deepest fears. At a time when alleged ritual killings in Delhi and Kerala have claimed lives, it’s a potent work to understanding our contemporary pathology.