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Festival Catalogue 2017 Flipbook PDF

Festival Catalogue 2017

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12 - 18 OCTOBER

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THANK FOR YOUR YOUSUPPORT

GOVERNMENT OF MAHARASHTRA

GOVERNOR OF MAHARASHTRA

CH VIDYASAGAR RAO I am pleased to know that the Jio MAMI 19th Mumbai Film Festival with Star is being organised by the Mumbai Academy of Moving Image (MAMI) in Mumbai from October 12 to 18, 2017. Mumbai is acknowledged as the undisputed capital of Indian cinema. For the past eighteen years, MAMI has promoted cultural and intellectual exchange between film industry, media professionals and cinema enthusiasts. It has brought directors from around the world closer to their Indian audiences. As a much-awaited, annual, cultural event, this festival directs international focus to Mumbai. With the festival reaching greater heights, the city also gains prominence as a global cultural capital. I congratulate the Mumbai Academy of Moving Image for its continued good work and renewed vision, and wish the Jio MAMI 19th Mumbai Film Festival with Star a grand success.

CHIEF MINISTER, MAHARASHTRA

DEVENDRA FADNAVIS Mumbai – the city of dreams, maximum city, whose spirit never falters and whose arms are open to all those who are ready to struggle and succeed. India’s financial and cultural capital has always shone brightly as an example of progress, modernity and unity in diversity. Here, the past is treasured and the future is shaped into being. No wonder then that Mumbai has been home to two thriving film industries – Hindi and Marathi – because cinema tells the stories that a society wants to hear. From the prolific dream merchants of Bollywood to the unwavering gaze of alternative cinema that will not look away from the truth, Mumbai has nurtured film in all its avatars. It is only befitting, then, that this city be home to Jio MAMI Mumbai Film Festival with Star, which has become a landmark cultural event for not just Mumbaikars, but people from all over India. Over the years, the festival has become a place to not only see the best of world cinema, but also discover some India’s most gifted young filmmakers. The talent and artistry that it showcases is a reminder of how cinema can be truly inspirational and enriching. I once again congratulate Jio MAMI for their efforts to bring world cinema and its brightest stars to our city and India. A week-long visual treat awaits us and my best wishes for the grand success of the Jio MAMI 19th Mumbai Film Festival with Star.

CO-CHAIRPERSON, JIO MAMI

NITA M AMBANI Welcome to Jio MAMI’s 19th Mumbai Film Festival! For the past 18 years, the Mumbai Film Festival has showcased the very best of Indian cinema and brought home the finest films from all over the world. It has provided both the cinema connoisseurs and the movie fans a platform to enjoy films of various genres and types, exchange ideas, and appreciate avant-garde expressions. Every year, this Festival witnesses the magic and brilliance of one of the most powerful art forms known to mankind. No wonder, the Mumbai Film Festival has become an eagerly awaited annual event for filmmakers and moviegoers, not just in the city, but in India and from across the world! Mumbai is proud of its cultural convergence and stands out as the cinema capital of India. If it is true that people from every corner of India can be found in Mumbai, it is even truer of the film industry, with thousands of youngsters choosing it as the preferred destination for their celluloid dreams. Mumbai does more than just host our film fraternity; it also lends itself to innumerable movie plots, right from the Marine Drive esplanade to the Mahalaxmi dhobi

ghats that we have seen splashed across the silver screen. It is, therefore, only fitting that the ‘maximum city’ is home to this cinematic rendezvous. For more than a century, films have captured the imagination of the masses, portraying the story of the common man as well as exciting us with futuristic themes. Technology has redefined the craft of filmmaking to become more sophisticated yet simple, and today we are in the vanguard of a digital revolution. Mobile phones and other hand-held devices now empower anyone to tell their story – rendering filmmaking within the reach of all. It is in recognition of this emerging digital cinematic form that we are delighted to introduce the Jio MAMI Reliance Foundation Award for Excellence in Digital Content from this year onwards. Like every year, Jio MAMI hopes to give us all the opportunity to glimpse into the minds, dreams, and cultures of distant lands and our own proximate world, through the lens of the renowned and emerging filmmakers. I hope you will enjoy this year’s programme, and wholeheartedly join us in this celebration of cinema.

C H A I R M A N & C E O, STA R

UDAY SHANKAR Few things can match the power of a good story, told well, in touching hearts and driving change. Any society’s ability to explore and encourage new stories is a direct indicator of its ability to change. At Star India, we truly believe that stories can inspire a billion imaginations. Mumbai Academy of Moving Images (MAMI) has been instrumental in bringing the best of cutting edge storytelling from across the world to Mumbai. The rigorous selection process ensures that each film

screened at the festival has something special to offer by way of creativity and innovation. The heady mix of new ideas, new perspectives and stylistic experiments is something that Mumbai’s film fraternity and audiences eagerly await every year. In this fourth year of our partnership with MAMI, we look forward to the opportunity to bring cinematic excellence to the Mumbai film lover. We wish MAMI a very successful nineteenth edition of the Mumbai Film Festival!

FOREWORD

A

19-year-old festival, a festival team that’s three years old and yet, the business of putting the Jio MAMI Mumbai Film Festival with Star together remains exciting, unpredictable, heady, occasionally frustrating and always rewarding. With each passing year, MAMI has grown in strength, we’ve dreamed bigger, and we’ve all worked harder than ever before. This year, we bring you more than 200 brilliant films from 49 countries, and that’s not including the films we’ve shown over the past eight months for the Year-Round Programme screenings. Our juries boast of extraordinary talent and the Special Events offer an opportunity to understand different aspects of cinema as both an art and a business. As we celebrate the Jio MAMI 19th Mumbai Film Festival with Star, we thought we’d share snippets of what goes on behind the scenes.

How to get through boring meetings Anupama Chopra (AC): Food - Smriti, Kiran and I are always happy to eat. Kiran Rao (KR): Anu’s nashta will come along and make things better! Smriti Kiran (SK): The knowledge that it will eventually END! If the festival was a Bollywood film... AC: Hum Saath Saath Hain - it takes a village to put a festival together.

KR: Do Bigha Zameen? We do occasionally feel like Balraj Sahni in the famous rickshaw falling apart scene...! SK: Lakshya: Kandhon Se Milte Hein Kandhe... the power of collaboration and unwavering resolve! Favourite part of the festival KR: The meetings through the year with my partners Anu and Smriti, always replete with food and laughter. SK: Hysterical unbridled laughter with partners in crime, Anu and Kiran! We can turn the worst situations and the most difficult decisions into unintentional comedy. We don’t take ourselves seriously. We are happy campers! AC: The most emotionally overwhelming part has always been the opening ceremony. I’ll never forget the moment in 2015. It had taken

so much to keep the festival alive that seeing the stage being erected and the chairs being put into place — and that too at an iconic Mumbai location like the Gateway of India — was a high. And also in 2016, when we finally got to reopen the Royal Opera House, another iconic Mumbai location. It gave me, as folk in Bollywood would say, the goosies. One moment of giddy excitement SK: This is a new world for me so I get giddy and excited about everything. KR: Does our drinks ‘meeting’ at Bombay Canteen count? Does it get easier? AC: It doesn’t, but you feel like you know the beast a little better. KR: We have this great team headed by Smriti. She is also the one to turn to when spirits need lifting, because she always has the funniest stories. And I turn to Anu the Wise, because she has more positivity than all of us put together. SK: The goal post keeps shifting so it doesn’t get easier, but I’m good with difficult. I turn to my nieces (11 and 4) for instant therapy. One filmi character you’d have on the team as a troubleshooter AC: The Hulk KR: We don’t need one really, we can be pretty hardcore ourselves. ;)

The goofiest one KR: Smriti or me, on different days. AC: Kiran - we call her Paresh after a character that Paresh Rawal played in a film where he had a question mark on his forehead because he couldn’t remember anything. Though I have to add, my memory is totally shot. At the closing ceremony in 2015, I hugged one of the guests I had invited and then turned to Smriti and asked, ‘Who was that?’ SK: All 3 of us - almost on most if not all days! Every year, there are more doomsday predictions for cinema and more anxious handwringing, but for us, there’s mostly optimism. Because each year, we’re rewarded by the response you give us when you support the festival with your time, enthusiasm and patience. So go watch as many films as possible, and feel that sense of magic and wonder that comes with realising yet again that the world is filled with beautiful stories and perspectives. Feel inspired, be entertained and may you have a massive cinema hangover until our next year-round programme event.

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OPENING FILM

INDIA GOLD

OXFAM AWARD

INTERNATIONAL COMPETITION

BOOK AWARD FOR EXCELLENCE IN WRITING ON CINEMA

DIMENSIONS MUMBAI

ROYAL STAG BARREL SELECT LARGE SHORT FILMS CATEGORY

MAMI TRIBUTE

AFTER DARK

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EXCELLENCE IN CINEMA

INSIDE

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170

174

182

186

200

206

230

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DISCOVERING INDIA

CLOSE UP: MONICA BELLUCI

RENDEZVOUS

MARATHI TALKIES

HALF TICKET

THE NEW MEDIUM

RESTORED CLASSICS

INDIA STORY

WORLD CINEMA

124 156

SPOTLIGHT

FOREWORD 8 BOARD OF TRUSTEES 14 CONTENT STUDIO 106 DEAL & DISCOUNTS 256 INDEX 264

ALL FILMS FEATURE ENGLISH SUBTITLES

BOARD OF TRUSTEES Nita M Ambani Nita Ambani is an educationist, philanthropist, businesswoman and a noted sports promoter. She is the Founder Chairperson of Reliance Foundation, which has impacted the lives of over seven million people. She provides leadership to 14 schools and is the Founder Chairperson of Dhirubhai Ambani International School. She heads Mumbai’s Sir HN Reliance Foundation Hospital, is the architect of Mumbai Indians, and the Founder Chairperson of Football Sports Development Limited, which launched the Indian Super League, revolutionising football in India. Nita is committed to promoting India’s art, culture and heritage. Forbes lists her amongst the 50 most powerful businesswomen in Asia.

Kiran Rao Kiran Rao is a film director and producer based in Mumbai. She has worked on films like Lagaan (2001), Monsoon Wedding (2001), Swades (2004) and produced such films as Taare Zameen Par (2007), Peepli Live (2010), Delhi Belly (2011), Dangal (2016) and Secret Super Star (2017). She also produced the television show, Satyamev Jayate (2012-2014) Her critically acclaimed directorial debut feature, Dhobi Ghat (Mumbai Diaries), premiered at the Toronto International Film Festival in 2010 and had a worldwide theatrical release in 2011. Kiran is also a producer with Aamir Khan Productions.

BOARD OF TRUSTEES

Anand Mahindra Anand Mahindra is Chairman of the Mahindra Group, one of India’s top industrial houses with a presence in varied sectors such as agri-business and aerospace. He secured an MBA degree from the Harvard Business School, Boston, Massachusetts in 1981. In 1991, he took over as Deputy Managing Director of Mahindra & Mahindra and was later appointed as Chairman and Managing Director. He was listed in Fortune’s list of The World’s 50 Greatest Leaders in 2014. At this year’s ET Awards, Mahindra & Mahindra was awarded Corporate Citizen of the Year for its corporate social responsibility initiatives like Project Nanhi Kali, which aims to keep girls from poor families in school.

Ajay Bijli Ajay Bijli is the Chairman and Managing Director of PVR Limited. Since his passion for movies led him to set up PVR Cinemas in 1995, Ajay has established himself as an industry leader of Indian film exhibition. Today, with 600 screens across the length and breadth of the country, PVR Cinemas is the largest chain of multiplexes in India. Ajay is the founding member of FICCI Multiplex Association (India), a member of The Film and TV Producers Guild (India), Young Presidents’ Organization and is associated with the Central Board of Film Certification, Government of India. Last year, CNBC TV18 gave Ajay the award for Asia Innovator of the Year at India Business Leader Awards. This year, he’s been awarded Exhibitor of the Year by CineAsia Awards.

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BOARD OF TRUSTEES Anurag Kashyap Anurag Kashyap is a noted filmmaker and screenwriter. Having started his career as a screenwriter, he was first noted for the screenplay of Satya (1998), which he co-wrote with Saurabh Shukla. His credits as a writer include Kaun (1999), Shool (1999), Yuva (2004) and Water (2005). His first film as a director was Paanch (2003) and he has since then directed films such as Black Friday (2007), Dev.D (2009), Gulaal (2009), Gangs of Wasseypur (2012), Ugly (2014) and Raman Raghav 2.0 (2016). His most recent film, Mukkabaaz (2017), premiered at the Toronto International Film Festival and is the opening film at the Jio MAMI 19th Mumbai Film Festival with Star.

Anupama Chopra Anupama Chopra is a noted film critic, television anchor and a National Award-winning book author. Her work has appeared in publications such as The New York Times and Los Angeles Times. She has hosted and scripted film shows on NDTV 24/7 and Star World. She is the festival director of Jio MAMI Mumbai Film Festival with Star, and founder and editor of Film Companion.

BOARD OF TRUSTEES

Fa r h a n A k h t a r Farhan Akhtar made his writing and directorial debut with Dil Chahta Hai (2001), which won the National Award for Best Hindi Feature Film. In 2008, he debuted as an actor/singer in Rock On!! and has since given noted performances in films such as Zindagi Na Milegi Dobara (2011), Bhaag Milkha Bhaag (2013) and Lucknow Central (2017). As a producer, Farhan co-founded Excel Entertainment with Ritesh Sidhwani. The company has produced films that notably include Lakshya (2004), Don (2006), Honeymoon Travels Pvt Ltd (2007), Fukrey (2013) and Dil Dhadakne Do (2015).

D e e p i k a Pa d u k o n e Deepika Padukone is one of Bollywood’s most successful actors. In 2015, Deepika received acting nominations for her performances in Bajirao Mastani and Piku across all Indian film awards. She made her Hollywood debut in 2016 with xXx: Return of Xander Cage. She will be next seen in Padmavati, directed by Sanjay Leela Bhansali, which releases later this year. Deepika is also the founder of The Live Love Laugh Foundation, which aims to destigmatise mental illness and raise awareness about mental health in India.

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BOARD OF TRUSTEES Karan Johar Karan Johar made his directorial debut with Kuch Kuch Hota Hai (1998), which was a critical and commercial success in India and around the world. Following this, he has written and directed numerous feature films, including Kabhi Khushi Kabhie Gham... (2001), Kabhi Alvida Naa Kehna (2005) and My Name is Khan (2010). Besides being a celebrated director, Karan is also a costume designer, actor and television personality. He hosts Koffee With Karan, which has the distinction of being the most watched English talk show on Indian television.

Isha M Ambani As the Director at Reliance Jio and Reliance Retail, Isha Ambani has played a pivotal role in launching Jio, Reliance Industries’ latest venture into technology in India. Previously, she served as a business analyst at McKinsey and Company’s New York Office. She graduated from Yale University in 2013 with a double major in Psychology and South Asian Studies. At Yale, she also served as the President of the South Asian Society. Isha remains actively involved in South Asian issues, particularly in the field of education.

BOARD OF TRUSTEES

Manish Mundra Manish Mundra is a producer and the founder of Drishyam Films. His first project as a producer was Ankhon Dekhi, which went on to win three Filmfare Awards and three Screen Awards. Since then, there has been no looking back for the corporate leader-turned-film producer. His Drishyam Films is a global motion-picture studio that has to its credit award-winning films such as Masaan (2015), Umrika (2015), Waiting (2015), Dhanak (2016), Newton (2017), Rukh (2017) and Kadvi Hawa (2017). Manish is also known for establishing the Drishyam-Sundance Institute Screenwriters Lab for aspiring Indian screenwriters. He was named one of Variety magazine’s top 10 producers to watch out for in 2017.

Kaustubh Dhavse Kaustubh Dhavse is the Joint Secretary in the Government of Maharashtra, designated as Officer on Special Duty to the Chief Minister, Government Of Maharashtra. He is credited for establishing the Aaple Sarkar Portal, the government’s interface for citizen’s grievances, government services and collaboration. He also runs the CM’s ‘War Room’, a unit to monitor and drive key projects in Maharashtra; and is a Member Secretary and convenor of a high level task force established jointly between the Government of India and Government of Maharashtra to build the world-class International Financial Services Centre (IFSC) in Mumbai. Kaustubh was recently appointed Director on the Maharashtra IT Corporation (MITC).

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BOARD OF TRUSTEES Rohan Sippy Rohan Sippy is a director and producer based in Mumbai. He is best known for directing Bluffmaster (2005), Dum Maaro Dum (2011) and Nautanki Saala (2013). As a producer, Rohan’s credits include Taxi No 9211 (2006) and The President Is Coming (2009).

Riteish Deshmukh Riteish Deshmukh debuted as an actor in 2003 with Tujhe Meri Kasam and has since starred in a diverse list of films such as Bluffmaster (2005), Darna Zaroori Hai (2006), Rann (2010), Housefull (2010) and Ek Villain (2014). He has also ventured into film production with Ravi Jadhav’s Balak Palak (2013), Lai Bhaari (2014) and Mahesh Limaye’s Yellow (2014), which is among the most acclaimed films of recent times.

BOARD OF TRUSTEES

Vikramaditya Motwane Vikramaditya Motwane is a writer, director and producer (unfortunately not always in that order) and a partner in Phantom Films with Anurag Kashyap, Vikas Bahl and Madhu Mantena. His directorial debut, Udaan (2010), was selected to compete in Un Certain Regard at the Cannes Film Festival. He followed it up with Lootera (2013), a big-budget Bollywood period romance in 2013. His most recent film was Trapped (2016), a survival thriller starring Rajkummar Rao.

Siddharth Roy Kapur Siddharth Roy Kapur is a film producer, President of The Film and Television Producers Guild of India and former Managing Director of The Walt Disney Company India. After having produced some of the most successful and critically-acclaimed movies of the last decade, Siddharth has now set up his own production house, Roy Kapur Films, to produce movies and digital video content across all scales and genres. Siddharth was featured among the top 40 Indian business leaders under 40 by The Economic Times and The Hollywood Reporter included him in their Next Generation Asia Inaugural Class of Young Leaders.

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BOARD OF TRUSTEES Zoya Akhtar Zoya Akhtar studied filmmaking at New York University and later assisted directors like Mira Nair and Dev Benegal. She worked as a casting director on Split Wide Open (1999) and Dil Chahta Hai (2001). She made her directorial debut with the critically-acclaimed film Luck by Chance (2009). She followed it up with Zindagi Na Milegi Dobara (2011) and Dil Dhadakne Do (2015). In 2013, Zoya contributed ‘Sheila Ki Jawani’, to Bombay Talkies, an anthology of short films produced to mark the centenary of Indian cinema. She’s currently working on a web series titled Made in Heaven.

Vishal Bhardwaj Vishal Bhardwaj is an Indian film director, writer, composer and producer. He has directed nine feature films, including Makdee (2002), The Blue Umbrella (2005), Kaminey (2009), 7 Khoon Maaf (2011), Matru Ki Bijli Ka Mandola (2013), Rangoon (2017) as well as the Shakespeare trilogy of Maqbool (2003), Omkara (2006) and Haider 2014). Makdee won the Best Film award at the Chicago International Children’s Film Festival. Omkara received the Best Artistic Contribution in Cinema award at the Cairo International Film Festival, and Haider won the People’s Choice award at Rome Film Festival. He has also received seven National Awards. In 2014, Vishal began his stage career by directing the opera A Flowering Tree by John Adams in the Théâtre du Châtelet, in Paris. He also composed music for the Broadway musical Monsoon Wedding (based on the feature film by Mira Nair).

EXCELLENCE IN CINEMA S H A R M I L A TAG O R E

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n the mid-1950s, the legendary filmmaker Satyajit Ray put an advertisement in the newspapers for a teenaged girl. He was looking for someone to play Aparna, whose innocence and delicate beauty shine like starlight in the melancholy darkness of Apur Sansar (The World of Apu, 1959), the final instalment of Ray’s Apu trilogy. The advertisement is an indication of just how wide a net the director cast and how dissatisfied he was with the choices that were available to him. That ad didn’t necessarily help, but Ray found his Aparna. He spotted her in a school and knew she was perfect. She was 13 years old and her name was Sharmila Tagore. Padma Bhushan Sharmila Tagore entered the world of show business at a time when it wore a veil of diaphanous disrepute. Films were watched enthusiastically, the songs were learnt and memorised lovingly, but good girls from respectable families didn’t act in them. Tagore is among those the Indian film industry has to thank for actresses being regarded with the adoration and admiration that they enjoy today. At a time when we were still developing the vocabulary of feminism in India, Tagore often chose films in which her roles snuck in a subtle criticism of misogyny and urged audiences to be more open-minded. Whether it was wearing a bikini with a casual ease that spoke volumes (with actions rather than words) about a woman’s right to be confident and not be ashamed of her sex appeal; or playing the part of a woman forced into sex work, Tagore made her point without a soapbox or lectures. Of her two National Awards, one is for Goutam Ghose’s Abar Aranye (2003). The other is for Mausam (1975), directed by Gulzar.

Best known for her blockbuster Bollywood films and the fact that she was among the best-paid actresses of her generation, Tagore also has to her name many memorable non-commercial films. She did five films with Ray, for instance, and would go on to work with the next generation of fêted directors like Ghose and Rituparno Ghosh. In the final scenes of Devi (1960), as the crazed young woman who has lost her grip on reality, the teenaged Tagore gave us one of the most unforgettable and chilling moments in cinema. Tagore’s Dayamoyee is the soul sister of a brilliant host of heroines who have shown how patriarchal society uses women. (How fitting that the most recent entrant to that sisterhood is Jennifer Lawrence in Darren Aronofsky’s Mother!) These heroines crack under pressure, but with a magnificence that’s both heartbreaking and terrifying. With an acting career that has spanned almost five decades, unforgettable roles that bring joy to audiences and don’t age despite the changing times, and a filmography that has every shade of storytelling in it, Sharmila Tagore will always be Indian cinema’s leading lady.

FILMOGRAPHY

The World of Apu (1959), Devi (1960), Nirjan Saikate (1963), Sesh Anka (1963), Dak Ghar (1964), Anupama (1966), Waqt (1965), An Evening in Paris (1967), Mere Hamdam Mere Dost (1968), Aradhana (1969), Aranye Din Ratri (1970), Safar (1970), Amar Prem (1970), Chupke Chupke (1975), Mausam (1975), Doosri Dulhan (1983), Abar Aranye (2003), Shubho Mahurat (2003), Eklavya: The Royal Guard (2007), Antaheen (2009)

EXCELLENCE IN CINEMA

THE LEADING LADY

OPENING FILM MUKKABAAZ B Y A N U R AG K A S H YA P

A N U R A G K A S H YA P OPENING FILM

THE BRAWLER (MUKKABAAZ)

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HINDI

 INDIA

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G 2017

FICTION ASIA PREMIERE

DIRECTOR ANURAG KASHYAP

CAST VINEET KUMAR SINGH, ZOYA HUSSAIN, JIMMY SHERGILL, RAVI KISSAN, SADHANA SINGH

STORY ANUDEEP SINGH SCREENPLAY ANURAG KASHYAP, VINEET KUMAR SINGH, MUKTI SINGH SRINET, KD SATYAM, RANJAN CHANDEL, PRASOON MISHRA CINEMATOGRAPHER RAJEEV RAVI, SHANKER RAMAN, JAY I PATEL, JAYESH NAIR EDITOR AARTI BAJAJ, ANKIT BIDYADHAR SOUND DESIGN KUNAL SHARMA

PRODUCERS AANAND L RAI, VIKRAMADITYA MOTWANE, MADHU MANTENA, ANURAG KASHYAP PRODUCTION COMPANY COLOUR YELLOW PRODUCTIONS PVT LTD, PHANTOM FILMS INDIAN DISTRIBUTOR EROS SALES AGENT STRAY DOGS

FESTIVALS AND AWARDS FILMOGRAPHY Paanch (2003), Black Friday (2004), Dev D (2009), That Girl In Yellow Boots (2010), Gangs of Wasseypur (2012), Ugly (2013), Bombay Velvet (2015), Raman Raghav 2.0 (2016)

Despite being the most populated state in India, Uttar Pradesh doesn’t see a lot of upcoming sportsmen. In the city of Bareilly, in Uttar Pradesh, aspiring boxer Shravan slogs day and night to achieve his dream of becoming a recognised boxer. Things go awry when he falls in love with a high caste, mute woman who happens to be the niece of his arch nemesis, Bhagwandas Mishra. Mishra also happens to be the head of the state boxing federation. To marry the one he loves, he needs Mishra’s benevolence to get a job since for Shravan, the only path to a stable government job is through boxing. But what Shravan doesn’t expect is that in India, boxing is about everything but the sport. While he prepares himself for his tournaments, what catches him unawares are the bouts against castesim, nepotism, doping, religious fanaticism, and a continuous class struggle.

TORONTO INTERNATIONAL FILM FESTIVAL

Anurag Kashyap is among the most influential Indian filmmakers of recent times. He has been credited as a director, producer, writer and also as an actor in over 80 films. His films have been screened at prestigious international film festivals and he has served on the jury of Venice, Sundance, CPH Pix and Marrakech film festivals. He was awarded the Knight of the Order of the Arts by the French government in 2013. 31

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AWARDS at the

festival

INDIA GOLD

DIMENSIONS MUMBAI

Dedicated to breakthrough contemporary Indian fiction or documentary feature films from all over India

Emerging filmmakers from Mumbai in the age category of 18-25 present their short films in this section

• Golden Gateway Award for Best Film • Silver Gateway Award for Best Film • Grand Jury Prize • Young Critics Choice Award

• Golden Gateway Award for Best Film • Silver Gateway Award for Best Film

INTERNATIONAL COMPETITION Spotlights new cinematic voices and showcases debut features by filmmakers from all over the world • Golden Gateway Award for Best Film • Silver Gateway Award for Best Film • Grand Jury Prize

AUDIENCE CHOICE AWARD Delegates vote and award their favourite film at the festival

EXCELLENCE IN CINEMA AWARD Honouring people who have shaped and altered the landscape of Indian and international cinema through their work in the field of cinema

BOOK AWARD FOR EXCELLENCE IN WRITING ON CINEMA

HALF TICKET

• Book Award for Excellence in Writing on Cinema (English) • Book Award for Excellence in Writing on Cinema (Hindi) • Curator’s Award for Excellence in Writing on Cinema in an Indian Language

The best of children's cinema — both features and short films — from around the world, awarded by a children's jury • Golden Gateway Award for Best Feature Film • Silver Gateway Award for Best Feature Film • Golden Gateway Award for Best Short Film • Silver Gateway Award for Best Short Film OXFAM BEST FILM ON GENDER EQUALITY AWARD Awarding films that challenge gender-based social norms which lead to gender inequality in order to encourage and recognize professional filmmakers who are making cinema which inspire people to work towards a future where women are empowered

(Cash prizes worth INR 1,16,50,000 are awarded to the winners)

INDIA GOLD

I N C O M P E T I T I O N , T H E B E ST O F I N D I A N F I L M

A s h wa t t h a m a Checkmate G ra n n y I n T h e S h a d ow s J u ze Machines R a l a n g Ro a d U p, D ow n A n d S i d e wa ys Vi l l a ge Ro c ks t a rs Zo o

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hy have an India section at Jio MAMI Mumbai Film Festival with Star? Isn’t India a part of the world – and thus, wouldn’t Indian cinema automatically be a part of world cinema? Do we ghettoise Indian cinema by putting it in its own box, not allowing it to play with the ‘big guys’? Or are we protecting Indian cinema from the ignominy of being compared with these ‘big guys’, with their years of international exposure? These are some questions that come up at these festivals, and not unreasonably. But the answer is easy. All other filmmaking cultures in the world have to deal only with two kinds of cinema: mainstream and arthouse, cinema for the popcorn-inclined and cinema for the cinematically-inclined. But here, each state has its own kind of cinema – there is no one Indian cinema, and Indian cinema deserves to be highlighted on its own. The films we have chosen can proudly compete with the best of world cinema – of that, there is little doubt. But in a separate category, they come to represent the various textures of this vast country, the glorious contradictions, the different kinds of music in the different languages. Many of us don’t get around the country as much as we get around the world. The Indian section of a film festival is a great start. As always, we’ve attempted to present diverse stories from diverse corners – but this aim is easier expressed than realised. For it isn’t just about where a film is from. It’s also about what it is, what it does, how it articulates itself. So as much as we regret that this selection isn’t more representational, we are proud that it isn’t tokenistic. These films are here because they deserve to be, and not out of an anxiety to represent one or another particular state. They are Indian films first; films from their states and languages, only later. It is in this spirit that we hope you will watch our Indian selection. Happy viewing. Baradwaj Rangan

INDIA GOLD

BARADWAJ RANGAN

DEEPTI DCUNHA

A National Award-winning film critic, an author and a writer of films, Baradwaj is Chief Consultant, Programming, Jio MAMI Mumbai Film Festival with Star; and Editor, Film Companion (South). His writings on cinema, music, art, books, travel and humour have been published in The Hindu, The New Indian Express, The Caravan, Open, Tehelka, Biblio, Outlook and The Cricket Monthly. He has co-written the Tamil rom-com, Kadhal 2 Kalyanam, and written the Tamil short film, Kalki. In the past, Baradwaj has served as a member of the jury at the National Film Awards. He teaches at the Asian College of Journalism, Chennai.

As a film programmer specialising in contemporary Indian cinema, Deepti has been the India Consultant to Marco Mueller since 2011 for Venice, Rome, Beijing (BJIFF), Silk Road (SRIFF), Macao (IFFAM) and now, Pingyao International Film Festival (PYIFF). She sources and curates films for the Viewing Room section and Work-in-Progress Lab for the prestigious NFDC Film Bazaar, South Asia’s largest film market. She is also on the Selection Committee of Locarno Film Festival’s Open Doors section for South Asian cinema. She’s been a programmer for the Indian Selection at Jio MAMI Mumbai Film Festival since 2015.

Preferred drink after a bad movie The director’s blood.

Little-known fact Deepti was an extra in PK, one of the highestgrossing Indian films of all time.

RATHEESH

RADHAKRISHNAN

Ratheesh teaches literature and film at the Department of Humanities and Social Sciences at IIT Bombay (Mumbai, India). He researches and writes on ‘region’ and cinema, with a focus on cinema in Malayalam, film festivals, and film history. He writes in English and Malayalam, in academic journals and popular magazines. He is the founder curator of TITLES, an annual festival of experimental films from India, held at the historic Rice Cinema (Rice Media Center, Houston TX) between 2011 and 2014. Favourite film memory Overheard conversation between two men during the interval of Robot -- “He [Rajinikanth] could do all this even without being a robot, right?”

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R A J E N D R A R OY Rajendra is the Chief Curator of Film at the Museum of Modern Art. He is also a member of the selection committee for New Directors/New Films and has served on numerous juries and selection committees for organisations such as the Sundance Film Festival, the Academy of Motion Picture Arts & Sciences and the Film Independent Spirit Awards.

CAO BAOPING Baoping is considered a pioneer in Chinese crime dramas. He is an award-winning director, screenwriter and producer. Best known for films like Einstein and Einstein (2013) and The Dead End (2015), which was a commercial success as well as a favourite with international film festivals, he is widely-regarded as the director with the Midas touch. H E A D

O F

J U R Y

CLIO BARNARD Clio is a celebrated filmmaker whose work has been shown in cinemas, international film festivals and galleries like the Tate Modern in London and the Museum of Modern Art in New York. Her debut feature, The Arbor (2010), won numerous awards, including Best New Documentary Filmmaker at TriBeCa Film Festival. Her fiction feature The Selfish Giant (2013) screened in the Directors’ Fortnight of Cannes Film Festival and won the Europa Cinemas Award. Her new film Dark River (2017) was screened at Toronto International Film Festival.

INDIA GOLD

JURY

GYAN PRAKASH Gyan is the Dayton-Stockton Professor of History and the Director of Fung Global Seminar at Princeton University. He is the author of several books, including Mumbai Fables, which was the basis of the film Bombay Velvet (2015), for which he wrote the original story and co-wrote the script.

TA LYA L AV I E An Israeli filmmaker and lecturer at the Sam Spiegel Film School in Jerusalem, Tayla won the Best Film award and the Nora Ephron Prize in the 2014 Tribeca Film Festival for her feature film Zero Motivation. Her short films have also received multiple international awards.

A L E X A N D R A B O R B É LY Born in Slovakia and working in Hungary since she was 18, Alexandra is a Hungarian theatre, television and film actress. She played the role of Maria in Ildikó Enyedi’s On Body And Soul (2017), which won the Golden Bear at the Berlinale and is part of World Cinema at the JioMAMI 19th Mumbai Film Festical with Star.

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PUSHPENDRA SINGH

ASHWATTHAMA

 BRIJ

 INDIA

h 120’

G 2017

FICTION INDIA PREMIERE

DIRECTOR PUSHPENDRA SINGH STORY/SCREENPLAY PUSHPENDRA SINGH CINEMATOGRAPHER RAVI KIRAN AYYAGIRI EDITOR SANJAY TUDU

SANGITA, CHITRA SHARMA, PUSHPENDRA SINGH, PRAVENDRA SINGH PRODUCERS SANJAY GULATI, PUSHPENDRA SINGH, AJIT SINGH RATHORE

SOUND DESIGN AJIT SINGH RATHORE

PRODUCTION COMPANY CRAWLING ANGEL FILMS, MARUDHAR ARTS, ASR FILMS

CAST ARYAN, LOVELY,

SALES AGENT ASIAN SHADOWS

FESTIVALS AND AWARDS FILMOGRAPHY Lajwanti (2014)

At the end of the great war in the Mahabharata, Krishna curses Ashwatthama with immortality — he must eternally suffer the excruciating pain of a raw wound that will never heal. Ishvaku hears this story from his mother and soon after, she’s killed when bandits attack their village. Ishvaku is taken to his mother’s village in the Chambal ravines, to be raised by her family. Here, an old world order is crumbling, and legends feel more real as they offer escapes to those who feel shackled. Ishvaku finds himself drawn into a series of strange encounters and when he comes across a mysteriously-wounded dacoit, Ishvaku can’t shake the feeling that he might just have found Ashwatthama.

BUSAN FILM FESTIVAL

Pushpendra Singh is an alumnus of the Film and Television Institute of India, Pune. His debut feature Lajwanti (The Honour Keeper) premiered at the 64th Berlin Film Festival.

E K TA R A C O L L E C T I V E

CHECKMATE INDIA GOLD

(TURUP)



HINDI

 INDIA

h 72’

G 2017

FICTION WORLD PREMIERE

DIRECTOR EKTARA COLLECTIVE CINEMATOGRAPHER MAHEEN MIRZA EDITOR PULOMA PAL STORY/SCREENPLAY RINCHIN, MAHEEN MIRZA CAST MOULINA MIDDE, ANIL SINGH, MADHU BHAGAT, SYED SAIM ALI,

NIDHI QAZI, HARIRAM DARSHYAMKAR, KUDEEP ARAKKA, SHEELA RAWAT, AAKASH JAMRA, ABHINAV KUMAR, DEEPAK NEMA, HASANUDDIN, MADHU DHURVE PRODUCERS EKTARA COLLECTIVE PRODUCTION COMPANY EKTARA COLLECTIVE

Made in collaboration with residents of different working class settlements in Bhopal, this film is grounded in the neighbourhood of Chakki Chouraha. Chess is a popular pastime here, with roadside tournaments bringing together men who challenge each other in friendly and sometimes unfriendly matches. Against this backdrop, three women’s lives unfold and intertwine. Monika is a household help with a secret hobby. Neelima is a journalist struggling with marital issues. Lata is a janitor in love with a taxi driver named Majid. Each of them have battles to fight and boundaries to push in a world full of fundamentalism and belligerent men.

Ektara Collective is an independent, autonomous, non-funded group that seeks to combine creative efforts and imaginations, to collaborate with trained and untrained people in order to create films that show subjective, contextual realities and experiences. Previously, Ektara has made and produced two short fiction films (Chanda Ke Joote, Jaadui Machchi). This is their first fiction feature film.

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D E VAS H I S H M A K H I J A

GRANNY (AJJI)

 HINDI

 INDIA

h 104’

G 2017

FICTION INDIA PREMIERE

DIRECTOR DEVASHISH MAKHIJA STORY/SCREENPLAY DEVASHISH MAKHIJA, MIRAT TRIVEDI CINEMATOGRAPHER JISHNU BHATTACHARJEE EDITOR UJJWAL CHANDRA SOUND DESIGN KAAMOD L KHARADE

CAST SUSHAMA DESHPANDE, SHARVANI SURYAVANSHI, ABHISHEK BANERJEE, SMITA TAMBE, SADIYA SIDDIQUI, VIKAS KUMAR, SUDHIR PANDEY PRODUCERS VIKRAM MEHRA, SIDDHARTH ANAND KUMAR

When an old tailor, known fondly as Ajji (meaning “granny”), finds her granddaughter brutally raped. It’s the beginning of an exploration into the cold and brutal heart of the city. Ajji tries to report the crime to the police, but they try to intimidate her and her family into forgetting this crime ever happened. Undeterred, Ajji embarks on her own investigation to find out who the rapist is and discovers his identity to be a powerful man. Will his position be enough to save him from Ajji’s particular brand of justice or will Ajji find a way to avenge the rape that everyone wants her to forget?

PRODUCTION COMPANY SAREGAMA INDIA LTD

FILMOGRAPHY Oonga (2013)

Devashish Makhija is a writer and director. His directorial credits include the awardwinning short films Rahim Murge Pe Mat Ro, El’ayichi, Agli Baar, Absent and Tandav. His first full-length feature was Oonga and Bhonsle is his forthcoming film.

DIPESH JAIN

IN THE SHADOWS INDIA GOLD

(GALI GULIYAN)



HINDI

 INDIA

h 117’

G 2017

FICTION INDIA PREMIERE

DIRECTOR DIPESH JAIN STORY/SCREENPLAY DIPESH JAIN

CAST MANOJ BAJPAYEE, NEERAJ KABI, RANVIR SHOREY, SHAHANA GOSWAMI

CINEMATOGRAPHER KAI MIEDENDORP

PRODUCER SHUCHI JAIN

EDITOR CHRIS WITT

PRODUCTION COMPANY EXSTANT MOTION PICTURES LTD

FESTIVALS

In the walled city of old Delhi, Khuddoos, a lonely man who obsessively watches people with his hidden cameras, hears a boy being beaten up. He begins a search for the boy that quickly becomes an obsession. With the boy’s condition going from bad to worse, Khuddoos’s grip on time and reality starts to loosen, eventually breaking the wall and revealing a shocking truth.

BUSAN INTERNATIONAL FILM FESTIVAL | CHICAGO INTERNATIONAL FILM FESTIVAL

Dipesh Jain is based in Los Angeles and has written, directed and produced short films in USA, Prague and India. He has been selected for Berlinale Talents and the Producer’s Lab at the NFDC Film Bazaar. In the Shadows is his debut movie and was selected for the Works in Progress Lab at NFDC Film Bazaar.

45

MIRANSHA NAIK

JUZE

 KONKANI

 INDIA

h 93’

G 2016

FICTION INDIA PREMIERE

DIRECTOR MIRANSHA NAIK STORY/SCREENPLAY MIRANSHA NAIK

CAST RUSHIKESH NAIK, SUDESH BHISE, PRASHANTI TALPANKAR, BARKHA NAIK

CINEMATOGRAPHER ABHIRAJ RAWALE

PRODUCERS MIRANSHA NAIK

EDITOR JACQUES, SIDDHESH, SUZANA

PRODUCTION COMPANY THIN AIR PRODUCTIONS SALES AGENT FILMS BOUTIQUE

FESTIVALS AND AWARDS

Every village in Goa has a juze, slumlords who abuse their power and become local tyrants. Boribmol is no exception. It’s ruled by an abusive, thuggish juze, who uses violent intimidation to keep his immigrant workforce submissive while his predator’s eye is trained upon the workers’ wives. There is one person, however, who quietly takes on the juze: Santosh, a 16-year-old, who is regularly beaten by the juze but is determined to continue studying despite the challenges. As Santosh’s passive resistance evolves, a confrontation looms.

HONG KONG INTERNATIONAL FILM FESTIVAL | KARLOVY VARY INTERNATIONAL FILM FESTIVAL

Miransha Naik studied filmmaking and screenwriting at Whistling Woods International, Mumbai. He has made short films under his own banner, Thin Air Productions. Juze is his feature film debut.

RAHUL JAIN

MACHINES INDIA GOLD



HINDI

 INDIA

h 75’

G 2016

DOCUMENTARY INDIA PREMIERE

DIRECTOR RAHUL JAIN SCRIPT RAHUL JAIN CINEMATOGRAPHER RODRIGO TREJO VILLANUEVA EDITOR RAHUL JAIN, YAEL BITTON SOUND DESIGN SUSMIT BOB NATH

PRODUCERS RAHUL JAIN, THANASSIS KARATHANOS, IIKKA VEHKALAHTI PRODUCTION COMPANY JANN PICTURES, PALLAS FILM, IV FILMS SALES AGENT AUTLOOK FILMSALES

FESTIVALS AND AWARDS

“God gave us hands, so we have to work,” says one of the workers interviewed for this documentary. He’s a labourer in a textile factory in Gujarat, a place where the hours of toil seem unending, where man and machine are fused into one painful being. Contrast that to the factory owner who maintains that paying his labour more than the bare minimum would make them lazy. Taking the viewer through the corridors and bowels of the enormous and disorienting structure of the factory, this is a descent into a 21st century hell. Using personal narratives, the film shows how workers are dehumanised by their work and the way the cycle of inequality and exploitation is kept in place. SUNDANCE JURY AWARD FOR EXCELLENCE IN CINEMATOGRAPHY, SUNDANCE FILM FESTIVAL | BEST FILM, DOCUMENTA MADRID

Rahul Jain recently graduated from California Institute of The Arts, and is presently pursuing a writing MA in Aesthetics and Politics. His work focuses on distance, otherness and the everyday. This is his first film.

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K A R M A TA K A PA

RALANG ROAD

 NEPALI

 INDIA

h 103’

G 2017

FICTION ASIA PREMIERE

DIRECTOR KARMA TAKAPA STORY/SCREENPLAY KARMA TAKAPA

CAST SHUBHAM, SONAM WANGYAL LADIMPA, DOMBER MANI PRADHAN

CINEMATOGRAPHER SONU

PRODUCERS HEER GANJWALA

EDITOR ANADI ATHALEY

PRODUCTION COMPANY HUMAN TRAIL PICTURES

A billiard club owner, a teacher and two teenagers of a small town in Sikkim are brought together by a series of coincidences. Connecting their different strands are, among other things, a travelling bag of money, the art of cheating in an examination, torture, alcoholism and kidnapping. The mundane becomes menacing in this fragmented multinarrative that delves into the noir heart of southern Sikkim.

SALES AGENT BASIL CONTENT MEDIA

FESTIVALS AND AWARDS

FILMOGRAPHY Mor Mann Ke Bharam (codirector, 2015)

KARLOVY VARY INTERNATIONAL FILM FESTIVAL

Karma Takapa graduated from the Film and Television Institute of India, Pune, specialising in Direction and Screenplay. He co-directed the Chhattisgarhi feature Mor Mann Ke Bharam (An Illusion Of My Mind), which premiered at the Jio MAMI 17th Mumbai Film Festival and won the Special Jury Prize. He has also made shorts and documentary films.

ANUSHKA MEENAKSHI, ISWAR SRIKUMAR

UP, DOWN AND SIDEWAYS INDIA GOLD

(KHO KI PA LÜ)



CHOKRI

 INDIA

h 83’

G 2017

DOCUMENTARY INDIA PREMIERE

DIRECTOR ANUSHKA MEENAKSHI, ISWAR SRIKUMAR CINEMATOGRAPHER ANUSHKA MEENAKSHI, ISWAR SRIKUMAR, TARUN SALDANHA

CAST COMMUNITY OF PHEK PRODUCER MANAS MALHOTRA

EDITOR ANUSHKA MEENAKSHI, ISWAR SRIKUMAR

FESTIVALS

FILMOGRAPHY Anushka Meenakshi: c/o Platform (co-director, 2006) My Name Is Basheer (2009)

The village of Phek in Nagaland is home to nearly 5,000 people and almost all of them sing while they work on the terraced slopes of the Naga hills. As the seasons change, so does the music. Their songs are as evocative as the land they work; and the lyrics as poetic and poignant as the stories they share. All their songs begin with one common fragment — “Without you I am nothing” — a celebration and a reminder of one’s need for the other. Drawing inspiration from the polyphonic nature of the music, this documentary presents a musical portrait of the community.

YAMAGATA INTERNATIONAL DOCUMENTARY FILM FESTIVAL

Anushka Meenakshi has worked as a filmmaker, a community video trainer and she also designs music for theatre productions. Iswar Srikumar is an actor and a lighting/ sound designer for theatre. Both are part of Perch, a performance collective, and founded the u-ra-mi-li project in 2011.

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RIMA DAS

VILLAGE ROCKSTARS

 ASSAMESE

 INDIA

h 87’

G 2017

FICTION INDIA PREMIERE

DIRECTOR RIMA DAS STORY/SCREENPLAY RIMA DAS CINEMATOGRAPHER RIMA DAS

CAST BHANITA DAS, BASANTI DAS PRODUCTION COMPANY FLYING RIVER FILMS

EDITOR RIMA DAS SOUND DESIGN AMRIT PRITAM

FESTIVALS AND AWARDS

FILMOGRAPHY Antardishti (2016)

Ten-year-old Dhunu lives in a remote village in Assam. It’s a life of poverty and scarcity, but that isn’t enough to quell Dhunu’s spirit. Raised by a mother who encourages her to be true to herself, Dhunu is bright, confident and unfazed by the village elders who frown upon her frolicking with a gang of local boys. At one point, she and the boys decide they should form a rock band. After a while, the boys give up this plan, realising they can’t afford it. Dhunu, however, holds on to both her cutout of a guitar and her dream of owning a real one. The film has been shot with non-actors and mostly in natural light.

TORONTO INTERNATIONAL FILM FESTIVAL | SAN SEBASTIAN FILM FESTIVAL

Rima Das is a self-taught film writer, producer, director. She was born and raised in a small village in Assam and now divides her time between Mumbai and Assam. Her first film, Antardrishti (Man with the Binoculars) was selected at Tallinn Black Nights Film Festival and was part of India Story at the Jio MAMI 18th Mumbai Film Festival with Star.

SHLOK SHARMA

ZOO INDIA GOLD



HINDI

 INDIA

h 95’

G 2017

FICTION INDIA PREMIERE

DIRECTOR SHLOK SHARMA STORY/SCREENPLAY SHILPA SRIVASTAVA, SHLOK SHARMA CINEMATOGRAPHER RANGARAJAN RAMABADRAN EDITOR AARTI BAJAJ

CAST SHASHANK SUNNY ARORA, SHWETA TRIPATHI, RAHUL KUMAR, PRINCE DANIEL PRODUCERS ANURAG KASHYAP, VIKRAMADITYA MOTWANE, VASAN BALA, SHLOK SHARMA PRODUCTION COMPANY FUNDAMENTAL PICTURES PVT LTD

FILMOGRAPHY Haraamkhor (2017)

What does it take to survive the underbelly of Mumbai? Weaving together the stories of four characters, this film flits in and out of the different conflicts they face. Two of them are teenaged rappers in Dharavi. One is a coffee-shop waiter who also runs a drug delivery business out of the café at which he works. The last is a teenager in a posh South Mumbai neighbourhood who hasn’t left her apartment in two years. Either you try to alter your realities or you reluctantly succumb to it — whichever option you pick, you can’t forget the cage in which you live.

Shlok Sharma began his film career at 19, assisting Vishal Bhardwaj and later Anurag Kashyap. He has several critically acclaimed short films to his credit, including Hidden Cricket, Tubelight ka Chand, and Joy of Giving. His debut film, Haraamkhor, was critically-acclaimed. Zoo is his second feature and was shot entirely on an iPhone.

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Y GR N U EH TH

N O M Y L I T I F L T A S U E Q B E M R A E F D X O GEN NY AN R G

S TAR S K OC R E LAG L I V

TE MA K EC CH

OXFAM AWARD

TE MA K EC CH 9th I 1 on M MA Film ian Jio Best n Ind irls, i h — rms nd g nise wit a o a og i p f i t d la to c In en rsh ne fam tial p wom to re ple o t r o e pa Ox uen ut n n p im in rd: infl abo we a ires ome the , t a n aw p t w sed ce s s ins s pe rd, n mo a atio nis d an the reoty awa that again er-b viole a d g f e f s r e i t n a o o itut th em ence ge ic o k s t t ne rofi s ins is o brea rough g cin viol nge ndem p y le a n a no ar h dustr te to . Th makin and chal al p d at b t u hem e g n e S o i o n r l r i r e t d th e g d lea l an n film rtant alue ho a pow lms th m o v a a a w i fi to e v e p i d , s t d e n r m n s e a i I c i r t ake o en Fe he Ind an tha h n a es T m i Film lity. also rms filmm ome cuss and a f o , w x o a l f a y n e u a O mb Eq ar ial alit ry ich ion Mu nder Films soc ofess n wh tego inequ i a e r Ge iety. lleng e p ture rd c nder soc cha ourag a fu awa g ge s and enc ards Thi tuatin . . w d s o n t s rpe irls a rk t exi s pe nd g wo ger a rm n lon ial no ome c so inst w a ag

RY NG U EH TH

NY AN R G

S TAR S CK RO E LAG VIL

JURY

ALANKRITA SHRIVASTAVA Alankrita Shrivastava is an award-winning film director and screenwriter with a penchant for telling women’s stories. She read Journalism at Lady Shri Ram College in Delhi University and has worked with Prakash Jha Productions on several films. She was the executive producer on Khoya Khoya Chand (2007). She is best known for being the director of the ‘lady-oriented’ film, Lipstick Under My Burkha (2016), which has been widely appreciated both commercially and on the festival circuit, having won 13 international awards.

VASAN BALA Born and raised in Matunga, movies first happened on makeshift screens at Ganpati Pandals, then Aurora Cinema, then (of course) VHS. After fulfilling half-hearted duties in the conventional job world, Vasan quit it all to join Anurag Kashyap. He assisted Kashyap on films like Dev.D (2009) and Gangs of Wasseypur (2012). Vasan also worked with Michael Winterbottom on Trishna (2011), made the feature film Peddlers (which was in Cannes Critics’ Week in 2012), co-wrote Raman Raghav 2.0 and Bombay Velvet, and now dabbles in advertising too.

GAYATRI

SIVASUBRAMANIAM

After trying her hand at ad filmmaking and a couple of shorts, Gayatri studied MFA (in filmmaking) at Northwestern University, Chicago. On her return, she co-wrote and co-directed the critically-acclaimed, Oram Po (aka Auto, 2007). Her most recent project is Vikram Vedha (2017), a modern take on the Vikram and Betal tales of yore, set in the contemporary world of gangsters and cops. Gayatri co-writes and co-directs with her husband and longtime partner, AKS Pushkar.

OXFAM AWARD

A L A N K R I TA S H R I VASTAVA

THE FEMALE GAZE Let’s talk about gender. To me gender means the gender I identify myself with. I think it is not just biological but goes much deeper than that. I think it is important that we stop looking at gender in binaries, and embrace the idea that gender is a fluid entity. However the biggest battle we face is against patriarchy which reinforces very strict gender roles. And it is actually not beneficial to anyone. Making an impact with films Cinema and literature for me are the hope of the world. They can definitely make a dent and transform how we see masculinity, femininity, gender roles, gender identities and feminism. All this is very subliminal though and is an effect of an engaging film. I don’t believe in “preaching” through cinema. I think a film needs to be a film first. If it’s a good film that moves something in us, it will teach us something new about life perhaps. Or show us something that we knew, but were not seeing. Films can definitely spark off debate and discussion. That itself leads to changes in attitudes. The female gaze It is not enough to tell women’s stories or rather, have female protagonists. The point of view needs to be female too. The female gaze is the most critical in changing the representation of women in cinema. The eye with which we create and film the characters needs to be empathetic towards women. Right now we are in a situation where storytelling has been controlled by men and thus we see that our cinema is moulded completely by the male gaze. Women are objectified and stereotyped. And audiences, regardless of their sex, are encouraged to view films through the eyes of men. I think we need to question what we create and what we consume. The audience also should watch films with a

certain sense of awareness. We need to have much more dialogue about the missing female perspective and hence nuanced female characters on screen. Lipstick Under My Burkha It’s been such an intense journey. I feel the film exists today, out in the world, only because I decided to not give up on it. I do feel it is very ironic that the inaugural Oxfam Award for the Best Film on Gender Equality went to Lipstick Under My Burkha, a film that was banned by the Indian Censor Board for being too “lady-oriented.” I think Oxfam did pick a film that threatened the patriarchal social order. This particular award gave our battle against the patriarchal forces that were trying to gag us, so much legitimacy and validation. The film has now travelled to more than 45 film festivals and won 13 international awards, but it is so special that the first award we won was the Oxfam Award for the Best Film on Gender Equality.

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INTERNATIONAL COMPETITION

I N C O M P E T I T I O N , F I R ST-T I M E F I CT I O N A N D D O C U M E N TA RY F E AT U R E S

A p o s t a sy Bad Lucky Goat I Am Not A Witch M o n t p a r n a s s e B i e n ve n u e M o re Most Beautiful Island O b l i v i o n Ve rs e s Oh Lucy! Quest Scary Mother S u m m e r 1 9 93 T h e Wo u n d W i n t e r B ro t h e rs

L

ook back at the debut films selected for the International Competition over the past years at this festival and an awe-inspiring list of brilliant names comes together: Martin Pieter Zandvliet, Nagraj Manjule, Chaitanya Tamhane, Anthony Chen, Anocha Suwichakornpong, Ben Zeitlin, Kleber Mendonca, Pablo Giorgelli, Alice Winocour, Chloe Zhao, to name just a few. This is not just the legacy of this very special section of our festival, but also the future we imagine into being — one in which talent that is unmistakable in a first film, finds the spotlight.

This year, there are six out of 14 titles that have female directors. They bring distinctive twists to the storytelling, like the slight absurdist touch at the end of Scary Mother by Ana Urushadze or the elegant Zambian social satire of Rungano Nyoni’s I Am Not A Witch. Personal memories are mined for cinema in Summer 1993 by Carla Simón. Heroines reinvent themselves in Atsuko Hirayanagi’s Oh Lucy, Léonor Serraille’s Montparnasse Bienvenue and Ana Asensio’s Most Beautiful Island. The story of masculinity also comes under the microscope. The Wound by John Trengove sees what being a man means for a group of men who have secrets considered unmanly by South African society. Onur Saylak’s More offers a very different look at how violence and masculine strength impacts boys shape-shifting from adolescent to manhood. In the bleak darkness of Winter Brothers, Hlynur Pálmason finds enough in the relationship of two brothers, to leave the audience intrigued. Our only documentary this year is Jonathan Olshefski’s Quest, about an African-American, working class family’s life in a crime-ridden suburb of Philadelphia. It offers a very different and more heartening portrayal of strength. Of course, it isn’t all doom and gloom. Samir Oliveros’s delightfully whimsical Bad Lucky Goat shows bad juju can make for good comedy. These are films that question, disrupt, shake you out of your safety bubble, engage and entertain. They will make you think, they will make you shudder and they will make you laugh. Anu Rangachar

BARADWAJ RANGAN

DENNIS LIM

PAOLO BERTOLIN

RASHID IRANI

Anu has been with the Mumbai Film Festival for the past eight years and has facilitated many international collaborationsat the festival. Originally an engineer, shestudied film at theNew York Film Academy. She was closely involved in films made by the late Bengali auteur Rituparno Ghoshand is currently collaborating with the filmmaker Ashim Ahluwalia on a few upcoming feature film projects.

A National Awardwinning film critic, an author and a writer of films, Baradwaj is Chief Consultant, Programming, Jio MAMI Mumbai Film Festival with Star; and Editor, Film Companion (South). His writings on cinema, music, art, books, travel and humour have been published in The Hindu, The New Indian Express, The Caravan, Open, Tehelka, Biblio, Outlook and The Cricket Monthly. He has co-written the Tamil rom-com, Kadhal 2 Kalyanam, and written the Tamil short film, Kalki. In the past, Baradwaj has served as a member of the jury at the National Film Awards. He teaches at the Asian College of Journalism, Chennai.

Dennis is the director of programming at the Film Society of Lincoln Center, where he also serves on the programming committees for the New York Film Festival, New Directors/New Films, Art of the Real, and Projections, among other annual festivals. He has written for The New York Times, The Los Angeles Times, Cinema Scope, and The Village Voice, where he also edited the film section, and he has taught film studies at Harvard and cultural criticism at New York University. His most recent book, David Lynch: The Man From Another Place, was published in 2015.

Paolo is a festival programmer, film writer and producer. Focusing mostly on Asian cinemas, he has collaborated with several international film festivals and institutions, including the ones in Venice, Beijing, and Hanoi; the Doha Film Institute, the Udine Far East Film Festival, Visions du Réel, International Film Festival Rotterdam, and Cannes Critics’ Week. Bertolin also has producer credits on a number of acclaimed films, like Phan Đăng Di’s Big Father, Small Father and Other Stories (2015), and Amit Dutta’s Chitrashala (2015, short).

Rashid currently contributes film reviews to The Hindustan Times. He was actively involved in the film society movement in Mumbai during the 1960s and the 1970s, and programmed films for the Cine Club of the Alliance Francaise de Bombay and the Friends of the Archive Film Study group. He has served on the jury of the film festivals at Pune and Bengaluru and at the International Children’s Film Festival in Lucknow. He has been a programmer at Jio MAMI Mumbai Film Festival for nine years.

RANGACHAR

Guilty pleasure film Chennai Express

Chances of crying during a film Fairly high

Preferred drink after a bad movie A nice Japanese whiskey

One film he’d be an extra in Shortbus

INTERNATIONAL COMPETITION

ANU

Favourite film memory Watching Yasujiro Ozu’s Late Autumn for the first time

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CELINA JADE Celina Jade is a Hong Kong-American actress, singer, songwriter, model and martial artist. At 14, she won an Asia-wide singing competition, which launched a successful musical career. Celina’s first film was director Wu Jing’s Legendary Assassin (2008), which marked his directorial debut too. Her first American film was The Man With The Iron Fists (2012). She also played Shado in the first two seasons of the television show Arrow. Celina’s most recent film is Wolf Warrior 2, which is now China’s biggest ever box-office hit.

H E A D

O F

J U R Y

JOHN MADDEN John Philip Madden is a director of film, television, theatre, and radio. An alumnus of the University of Cambridge, he began his career with theatre, before moving on to the BBC and entering the world of radio and television. With several prominent television titles to his credit, including Prime Suspect 4 and episodes of Sherlock Holmes, John turned his focus to feature films in the early Nineties. His film Shakespeare in Love (1998) won the Oscar for Best Picture as well as the Silver Bear at the 49th Berlinale. His recent successes include the much-loved The Best Exotic Marigold Hotel series and Miss Sloane (2016). Along with his work as a director, Madden serves as a jury member for the digital studio Filmaka, a platform for undiscovered filmmakers to showcase their work to industry professionals.

JURY ALEXIS ZABE Alexis Zabe is a cinematographer from Mexico City whose work spans various platforms with films, commercials, and music videos. In 2004, he garnered widespread acclaim for his work on Fernando Eimbcke’s film Duck Season, and earned his first Cinematography Honors at Mexico’s Ariel Awards. He has since worked on several acclaimed titles including Carlos Reygadas’ Silent Light (2007) and Post Tenebras Lux (2012), both of which won awards at the Cannes Film Festival, with the former earning Zabe yet another Ariel Award for his cinematography. In 2013, Zabe worked as the cinematographer on the music video of Pharrell Williams’s widely popular song “Happy”. His most recent feature film is Sean Baker’s The Florida Project, which premiered at this year’s Cannes Film Festival.

SANTIAGO MITRE Santiago Mitre is an Argentine film director and screenwriter. He graduated from la Universidad del Cine and made mostly commercials till 2006. His film career would begin in earnest from 2008, when he co-wrote Lion’s Den (Leonora, 2009). He also co-wrote Carancho (2010) and White Elephant (2012) – all three showcased at the Cannes Film Festival. Santiago’s directorial debut, El Estudiante (The Student, 2011), was well-received. He directed and co-wrote Paulina (2015), which won the Critics’ Week Grand Prix and the FIPRESCI Prize at the Cannes Film Festival. His most recent film is The Summit (2017), which opened at Cannes’s Un Certain Regard to widespread acclaim.

KO N KO N A S E N S H A R M A Konkona Sensharma is an award-winning actress and film director. Beginning her career as a child artist in Bengali films at the age of four, she has now acted in over 40 films in Hindi, Bengali and English. Her performance in Mr and Mrs Iyer (2002) earned her a National Film Award for Best Actress along with critical acclaim. She won her second National Film Award four years later, for her performance in Omkara (2006), which was also the year she debuted as director with her short film, Naamkoron (2006). Konkona made her full-length directorial debut with A Death In The Gunj (2016), which was critically-acclaimed and screened at a number of prestigious festivals, including Toronto International Film Festival and Busan International Film Festival. Most recently, Konkona was seen in Lipstick Under My Burkha (2016).

61

D A N I E L K O K O TA J L O

APOSTASY

 ENGLISH, URDU

 UK

h 96’

G 2017

FICTION ASIA PREMIERE

DIRECTOR DANIEL KOKOTAJLO STORY/SCREENPLAY DANIEL KOKOTAJLO CINEMATOGRAPHER ADAM SCARTH EDITOR NAPOLEON STRATOGIANNAKIS

CAST SIOBHAN FINNERAN, SACHA PARKINSON, MOLLY WRIGHT, ROBERT EMMS PRODUCERS MARCIE MACLELLAN, ANDREA CORNWELL PRODUCTION COMPANY CORNERSTONE FILMS

FESTIVALS AND AWARDS

As devout Jehovah’s Witnesses, sisters Alex and Luisa and their mother, Ivanna, are united in The Truth. Alex looks up to her confident older sister, while striving to follow in Ivanna’s footsteps. But when Luisa starts to question the advice of the Elders, she makes a life-altering transgression that threatens to expel her from the congregation. Unless Ivanna and Alex can persuade her to return, they must shun her completely. This challenge becomes more painful when their family is faced with another heartbreaking test of faith.

TORONTO INTERNATIONAL FILM FESTIVAL | BFI LONDON FILM FESTIVAL

Daniel Kokotajlo is a self-taught director and writer from Manchester. In 2015, iFeatures3 (BBC/BFI/CE) greenlit his debut feature film and he was selected by Screen International as a 2015 Star of Tomorrow. His short films have screened at multiple major festivals. His short film, Myra, was long-listed for a BAFTA in 2012.

SAMIR OLIVEROS

BAD LUCKY GOAT

INTERNATIONAL COMPETITION

 CREOLE

 COLOMBIA

h 76’

G 2017

FICTION INDIA PREMIERE

DIRECTOR SAMIR OLIVEROS STORY/SCREENPLAY SAMIR OLIVEROS CINEMATOGRAPHER DAVID CURTO EDITOR SEBASTIAN HERNANDEZ SOUND DESIGN MANUEL J GORDILLO, ALEJANDRO URIBEHOLGUÍN

CAST HONLENNY HUFFINGTON, KIARA HOWARD, JEAN BUSH HOWARD, EDUARDO CANTILLO PRODUCERS ANDRES GÓMEZ D SALES AGENT LUXBOX

FESTIVALS AND AWARDS

Corn and Rita are out to pick up guests who will stay at their family’s hotel when they accidentally hit a bearded goat. The two siblings are left with a truck that needs repairs. Corn and Rita must find a way to fix the truck in time to pick up the tourists, and make sure no one finds out about the incident with the goat. On this journey around Port Paradise, the siblings visit a butcher, rastafari drum makers, a pawn shop and even a witch doctor. The soundtrack for the film only uses instruments that are local to Port Paradise.

SXSW FILM FESTIVAL

Samir Oliveros was born in Bogota, Colombia, and studied film direction at the School Of Visual Arts in New York. After graduation, he launched a Kickstarter campaign that was successfully funded with just over $60,000 dollars, to shoot his first feature, Bad Lucky Goat.

63

RUNGANO NYONI

I AM NOT A WITCH  ENGLISH, BEMBA, NYANJA, TONGA

 UK, FRANCE

h 95’

G 2017

FICTION INDIA PREMIERE

DIRECTOR RUNGANO NYONI

CAST MAGGIE MULUBWA

STORY/ SCREENPLAY RUNGANO NYONI

PRODUCERS JULIETTE GRANDMONT, EMILY MORGAN

CINEMATOGRAPHER DAVID GALLEGO EDITOR YANN DEDET, GEORGE CRAGG, THIBAULT HAGUE

SALES AGENT KINOLOGY

SOUND DESIGN MAIKEN HANSEN

FESTIVALS AND AWARDS

A misunderstanding with a neighbour leads to Shula, nine years old and an orphan, being accused of being a witch. She is exiled to a “witch camp”, officially a settlement where ‘witches’ are safe from the hostility of locals, but is actually an internment camp. Here, Shula is told that if she tries to escape, she will be transformed into a goat. As she navigates this new life with its new players, Shula must decide whether to accept this fate or suffer the risks that come with seeking freedom. Although the particular witch camp in the film is imaginary, the director spent time a real one — the oldest witch camp in Ghana — while researching the film. DIRECTORS’ FORTNIGHT, CANNES FILM FESTIVAL

Rungano Nyoni is a graduate of Central St Martins, in London. She has co-directed and co-written the short titled Listen, which was selected for over 150 film festivals, premiered in Directors’ Fortnight in Cannes Film Festival, and won over 70 awards including the Best Short Narrative Prize at Tribeca Film Festival in 2015. Nyoni also directed the award-winning and BAFTA-nominated, Mwansa The Great (2011).

LÉONOR SERRAILLE

MONTPARNASSE BIENVENUE (JEUNE FEMME)

 FRENCH

INTERNATIONAL COMPETITION

 FRANCE

h 97’

G 2017

FICTION INDIA PREMIERE

DIRECTOR LÉONOR SERRAILLE STORY/ SCREENPLAY LÉONOR SERRAILLE

CAST LAETITIA DOSCH, GREGOIRE MONSAINGEON, SOULEYMANE SEYE NDIAYE

CINEMATOGRAPHER EMILIE NOBLET

PRODUCERS SANDRA DA FONSECA

EDITOR CLÉMENCE CARRE

PRODUCTION COMPANY BLUE MONDAY PRODUCTIONS

SOUND DESIGN ANNE DUPOUY

Broke, with nothing but her cat to her name, Paula returns to Montparnasse, in Paris, after a long absence. Her plan is to stay with an old flame, but those doors close on her face. So the freespirited Paula makes her way through this vibrant neighbourhood in Paris. Through solitude and the company of strangers — many of whom judge her harshly, but few can dim her lust for life — a portrait emerges of a young woman coming into her own.

SALES COMPANY BE FOR FILMS

FESTIVALS AND AWARDS

CAMERA D’OR, CANNES FILM FESTIVAL | KARLOVY VARY INTERNATIONAL FILM FESTIVAL | SARAJEVO INTERNATIONAL FILM FESTIVAL

Léonor Serraille studied screenwriting at La Femis in Paris and Montparnasse Bienvenue was the screenplay she wrote as her graduation project. The film was selected for Un Certain Regard and won the Camera d’Or, awarded to the best first feature, at this year’s Cannes Film Festival.

65

O N U R S AY L A K

MORE (DAHA)

 TURKISH, ARABIC

 TURKEY

h 115’

G 2017

FICTION INDIA PREMIERE

DIRECTOR ONUR SAYLAK STORY/SCREENPLAY HAKAN GÜNDAY, ONUR SAYLAK, DOGU YASAR AKAL CINEMATOGRAPHER FEZA CALDIRAN EDITOR ALI AGA SOUND DESIGN CENKER KÖKTEN

CAST HMET MÜMTAZ TAYLAN, HAYAT VAN ECK, TURGUT TUNCALP, TANKUT YILDIZ PRODUCERS KEREM CATAY PRODUCTION COMPANY AY YAPIM SALES AGENT HERETIC OUTREACH

FESTIVALS AND AWARDS

Fourteen-year-old Gaza lives on the Aegean coast of Turkey and helps his domineering father smuggle refugees from the turbulent Middle East to Greece. Gaza is bright, sensitive and caring, but can you avoid becoming a monster when the world around you is monstrous? This is a world that desperately needs kindness and goodness, yet those are the very qualities that are threatened because here, there is no room for innocence. Adapted from the award-winning novel of the same name by Hakan Günday, More offers a sensitive look at the complexities encircling the refugee crisis.

KARLOVY VARY INTERNATIONAL FILM FESTIVAL

Onur Saylak was born in Ankara and studied acting at Bilkent University’s Performing Arts Department. He also studied Physics and Political Science. After graduating, he’s been an actor in theatre and cinema. Daha is his directorial debut.

ANA ASENSIO

MOST BEAUTIFUL ISLAND  INTERNATIONAL COMPETITION

ENGLISH, URDU

 USA, SPAIN

h 80’

G 2017

FICTION INDIA PREMIERE

DIRECTOR ANA ASENSIO STORY/ SCREENPLAY ANA ASENSIO CINEMATOGRAPHER NOAH GREENBERG EDITOR FRANCISCO BELLO SOUND DESIGN JEFFERY ALAN JONES

CAST ANA ASENSIO, NATASHA ROMANOVA, DAVID LITTLE, NICHOLAS TUCCI PRODUCERS JENN WEXLER, CHADD HARBOLD, LARRY FESSENDEN, NOAH GREENBERG, ANA ASENSIO

Luciana is a young immigrant who lives in New York and is struggling to make ends meet. On one fateful day, she takes up what she thinks is a simple job, but it whisks Luciana into a series of unforeseen, extreme situations. Before her day is done, she finds herself playing a cruel game in which the pawns are all humans. Lives are placed at risk, and psyches are twisted and broken for the perverse entertainment of a privileged few. The film draws upon the director’s personal experiences.

PRODUCTION COMPANY GLASS EYE PIX, PALOMO PICTURES SALES COMPANY THE FILM SALES COMPANY

FESTIVALS AND AWARDS

SXSW FILM FESTIVAL | SYDNEY FILM FESTIVAL | JERUSALEM FILM FESTIVAL

Ana Asensio is an actress, writer and director from Spain, and she now lives in New York. She has worked on Spanish TV drama series, directed contemporary plays and adapted a best-selling Spanish novel into an award-winning one-woman show. Most Beautiful Island won the Grand Jury Award at this year’s SXSW Film Festival.

67

A L I R E Z A K H ATA M I

OBLIVION VERSES (LOS VERSOS DEL OLVIDO)

 SPANISH

 FRANCE, GERMANY, THE NETHERLANDS, CHILE

h 92’

G 2017

FICTION INDIA PREMIERE

DIRECTOR ALIREZA KHATAMI STORY/SCREENPLAY ALIREZA KHATAMI CINEMATOGRAPHER ANTOINE HÉBERLÉ EDITOR FLORENT MANGEOT SOUND DESIGN MARKUS KROHN, TOM KORR

CAST JUAN MARGALLO, TOMÁS DEL ESTAL, MANUEL MORÓN, ITZIAR AIZPURU PRODUCERS VINCENT WANG, FRED BELLAÏCHE, DOMINIQUE WELINSKI PRODUCTION COMPANY HOUSE ON FIRE, ENDORPHINE PRODUCTION, LEMMING FILM SALES AGENT UDI

FESTIVALS AND AWARDS

The elderly caretaker of a morgue has an impeccable memory for everything but names. One day, protests break out in a nearby city. The militia raid the morgue, beat the caretaker up and then hide civilian casualties in the morgue. The caretaker discovers the body of an unknown young woman and his determination to give her a proper burial brings the caretaker back to the morgue after he’s been driven out by the militia. His is a magical odyssey, back home from the desert, fuelled by memories of personal loss and alleviated by the companionship he gets from a mystic gravedigger who collects stories of the dead, an old woman searching for her long-lost daughter, and a hearse driver tormented by his past. For in this world, humanity lives in oblivion. ORIZZONTI AWARD FOR BEST SCREENPLAY, VENICE INTERNATIONAL FILM FESTIVAL | TORONTO INTERNATIONAL FILM FESTIVAL

Alireza Khatami is an independent filmmaker. He started his career in 2000 as an assistant to several prominent Iranian directors, including Asghar Farhadi. He later studied visual effects in Malaysia and received his Master of Fine Arts degree from the Savannah College of Art & Design. After teaching cinema in Beirut for three years, he moved to Chicago, where he teaches at the School of Cinematic Arts at DePaul University.

AT S U K O H I R AYA N A G I

OH LUCY!  JAPANESE, ENGLISH

INTERNATIONAL COMPETITION

 USA, JAPAN

h 95’

G 2017

FICTION INDIA PREMIERE

DIRECTOR ATSUKO HIRAYANAGI

KOJI YAKUSHO, KAHO MINAMI

STORY/SCREENPLAY ATSUKO HIRAYANAGI, BORIS FRUMIN

PRODUCERS HAN WEST, YUKIE KITO, JESSICA ELBAUM, ATSUKO HIRAYANGI

CINEMATOGRAPHER PAULA HUIDOBRO EDITOR KATE HICKEY CAST SHINOBU TERAJIMA, JOSH HARTNETT,

PRODUCTION COMPANY MATCHGIRL PICTURES, MERIDIAN CONTENT, GLORIA SANCHEZ SALES AGENT ELLE DRIVER

FESTIVALS AND AWARDS

Setsuko’s life is stuck in the rut of dreary routine until her niece Mika suggests she enrol for an English class run in an unorthodox fashion by John, an American teacher. In the class, each student has to have a persona different from their own. Setsuko, with a blonde wig, becomes Lucy and quickly develops a crush on her teacher. Then one day, unexpectedly, John is no longer there. It turns out John and Mika are a couple, and they’ve headed off to America. Accompanied by Mika’s mother Ayako and the blonde wig, Setsuko follows John and Mika’s trail. In a brave new world of Southern California’s tattoo parlours and seedy motels, family ties and past lives are tested as Setsuko struggles to preserve the dream and promise of Lucy.

CRITICS’ WEEK, CANNES FILM FESTIVAL | TORONTO INTERNATIONAL FILM FESTIVAL

Atsuko Hirayanagi is a graduate of New York University’s Tisch School of The Arts. Her second year project, Mo Ikkai (2012), won the Grand Prix at the 2012 Short Shorts Film Festival in Asia. Her thesis short film, Oh Lucy! (2014), received a First Prize Wasserman Award and won more than 25 awards, including prizes at Cannes, Sundance and Toronto film festivals. Her directorial debut is the feature-length version of the short.

69

J O N AT H A N O L S H E F S K I

QUEST  ENGLISH

 USA

h 105’

G 2017

DOCUMENTARY INDIA PREMIERE

DIRECTOR JONATHAN OLSHEFSKI CINEMATOGRAPHER JONATHAN OLSHEFSKI EDITOR LINDSAY UTZ

PATRICIA (PJ) RAINEY, WILLIAM WITHERS, PRICE PRODUCERS SABRINA SCHMIDT GORDON

SOUND DESIGN JONATHAN OLSHEFSKI

PRODUCTION COMPANY QUEST FURY SOUND

FEATURING CHRISTOPHER RAINEY, CHRISTINE’A RAINEY,

SALES COMPANY SUBMARINE ENTERTAINMENT

FESTIVALS AND AWARDS

Christopher “Quest” Rainey, along with his wife Christine’a (aka “Ma Quest”), open the doors of their home music studio in a bullet-ridden strip in North Philadelphia. Their home becomes a creative sanctuary for young rappers in particular. Even in their darkest hour, there’s an optimism that they cling to that is deeply intensely inspiring. Filmed over a decade, this documentary presents an intimate portrait of a workingclass, black family in pre-Trump America.

GRAND JURY AWARD, FULL FRAME DOCUMENTARY FILM FESTIVAL | SUNDANCE FILM FESTIVAL

Jonathan Olshefski is a documentary filmmaker and artist based in Philadelphia. He strives to tell intimate and nuanced stories that honour his subjects’ complexity by employing a production process that emphasises their collaboration. Olshefski has an MFA in Film and Media Arts from Temple University and is currently an Associate Professor of Radio, TV and Film at Rowan University.

ANA URUSHADZE

SCARY MOTHER (SASHISHI DEDA)

INTERNATIONAL COMPETITION

 GEORGIAN

 GEORGIA, ESTONIA

h 107’

G 2017

FICTION ASIA PREMIERE

DIRECTOR ANA URUSHADZE

AVTANDIL MAKHARADZE

STORY/SCREENPLAY ANA URUSHADZE

PRODUCERS LASHA KHALVASHI, TINATIN KAJRISHVILI, IVO FELT

CINEMATOGRAPHER MINDIA ESADZE EDITOR ALEXANDER KURANOV CAST NATA MURVANIDZE, DIMITRA TATISHVILI, RAMAZ IOSELIANI,

PRODUCTION COMPANY ARTIZM SALES AGENT ALIEF

FESTIVALS AND AWARDS

Fifty-year-old Manana is a housewife with a secret: she’s written a graphic novel that’s made up of ingenious text and imagery that’s almost pornographic. Manana’s husband makes supportive noises about her literary ambitions, but regards her condescendingly. Her creative self is buried under domesticity. Finally, Manana snaps under the pressure of trying to play the good wife and as she pursues her literary passions, she finds herself identifying more and more with her heroine, a mythic female vampire. Patriarchy, beware.

SWATCH FIRST FEATURE AWARD, LOCARNO INTERNATIONAL FILM FESTIVAL

Ana Urushadze was born in Tbilisi, Georgia. She graduated from Shota Rustaveli Theatre and Film State University in 2013.

71

CARLA SIMÓN

SUMMER 1993 (ESTIU 1993)

 CATALAN

 SPAIN

h 96’

G 2016

FICTION INDIA PREMIERE

DIRECTOR CARLA SIMÓN STORY/ SCREENPLAY CARLA SIMÓN

CAST LAIA ARTIGAS, BRUNA CUSI, DAVID VERDAGUER, FERMI REIXACHA, PAULA ROBLES

CINEMATOGRAPHER SANTIAGO RACAJ

PRODUCERS VALERIE DELPIERRE

EDITOR DIDAC PALOU, ANA PFAFF

PRODUCTION COMPANY INICIA FILMS

SOUND DESIGN ROGER BLASCO

SALES COMPANY NEW EUROPE FILM SALES

FESTIVALS AND AWARDS

In the summer of 1993, following the death of her parents, six-yearold Frida goes to live with her aunt and uncle in the Catalan province. Leaving Barcelona for the country and adjusting to her relatives pose challenges for Frida. Just as she struggles to adjust and deal with her grief, she’s a handful for her new family too. Before the season ends, Frida must cope with her emotions while her aunt and uncle will have to learn to love this little girl like she is their own daughter.

BERLINALE | BUENOS AIRES INTERNATIONAL FESTIVAL OF INDEPENDENT CINEMA | JERUSALEM INTERNATIONAL FILM FESTIVAL | ODESSA FILM FESTIVAL

Carla Simón studied at the University of California and the Audiovisual Communication Department of Universitat Autònoma of Barcelona. She has directed for television. She wrote and directed the documentary Born Positive and the feature film, Lipstick (both shorts). Summer 1993 was developed at Berlinale Script Station, Ekran program in Poland, Sources 2 in Barcelona and won the SGAE screenwriting fund. The film also received the MEDIA Development funding and the ICAA fund for production.

JOHN TRENGOVE

THE WOUND (INXEBA)

INTERNATIONAL COMPETITION

 XHOSA

 SOUTH AFRICA, GERMANY, FRANCE

h 88’

G 2016

FICTION INDIA PREMIERE

DIRECTOR JOHN TRENGOVE STORY/ SCREENPLAY JOHN TRENGOVE, THANDO MGOOLOZANA, MALUSI BENGU CINEMATOGRAPHER PAUL OZGUR EDITOR MATTHEW SWANEPOEL SOUND DESIGN MATTHEW JAMES

CAST NAKHANE TOURÉ, BONGILE MANTSAI, NIZA JAY NCOYINI PRODUCERS ELIAS RIBEIRO, CAIT PANSEGROUW PRODUCTION COMPANY URUCU MEDIA

In the Xhosa tribe, the cloistered ritual of ukwaluka initiates teenaged boys into the world of black masculinity. Xolani is a factory worker who goes up to the mountains every year, to be the caregiver to the initiates of ukwaluka (one of the rituals is circumcision). The real reason Xolani makes the trip, however, is that it offers him a chance to meet his secret, much-married, gay lover, Vija. When his relationship is discovered by one initiate, Xolani’s life unravels.

SALES COMPANY PYRAMIDE INTERNATIONAL

FESTIVALS AND AWARDS

SUNDANCE FILM FESTIVAL | BERLINALE | SYDNEY INTERNATIONAL FILM FESTIVAL | TAIPEI FILM FESTIVAL | SARASOTA FILM FESTIVAL

John Trengove is a Johannesburg-based director with an MFA in film from New York University. His work spans theatre, television, documentary, commercials and short films. He directed the miniseries Hopeville which received the Rose d’Or for best drama and was nominated for an Emmy. His short film The Goat premiered at Berlinale and Toronto International Film Festival in 2014, and went on to play at over 20 international festivals.

73

H LY N U R P Á L M A S O N

WINTER BROTHERS (VINTERBRODRE)

 DANISH, ENGLISH

 DENMARK, ICELAND

h 94’

G 2017

FICTION INDIA PREMIERE

DIRECTOR HLYNUR PÁLMASON STORY/SCREENPLAY HLYNUR PÁLMASON CINEMATOGRAPHER MARIA VON HAUSSWOLFF EDITOR JULIUS KREBS DAMSBO SOUND DESIGN LARS HALVORSEN

CAST ELLIOTT CROSSET HOVE, SIMON SEARS PRODUCERS JULIE WALTERSDORPH HANSEN, PER DAMGAARD HANSEN, HLYNUR PÁLMASON PRODUCTION COMPANY MASTERPLAN PICTURES APS, PER DAMGAARD HANSEN

Johan and Emil live in a remote community of Danish chalk miners. Emil, the younger one, brews moonshine and is an oddball who is accepted only because of his more conventional brother. When one of the miners dies after drinking Emil’s hooch, the community ostracises him. Emil becomes enraged when he learns that the woman he loves has chosen his brother, and not him. In this world riddled with revenge, loneliness and the absence of love, violence erupts.

SALES AGENT NEW EUROPE FILM SALES

FESTIVALS AND AWARDS

LOCARNO FILM FESTIVAL

Hlynur Pálmason is an artist and filmmaker. He was born in Iceland and lives now in Denmark. Previously, he has made the prize-winning short films, A Painter (2013) and Seven Boats (2014). This is his first full-length film and he’s currently working on both his second feature and new contemporary art projects.

EXCELLENCE IN WRITING ON CINEMA

T

he Book Award for Excellence in Writing on Cinema returns for its third innings this year. As before, published titles featuring writing on cinema were invited via a call for entries. Submissions in genres such as creative nonfiction, reportage, biographies, academic essays and memoirs were accepted.

ARPITA DAS

The two winning titles will be decided by the jury during the festival and announced at the closing ceremony. This year we are also instituting a Curator’s Award to recognise superlative writing on cinema in an Indian language other than English and Hindi. A prize amount of Rs 2,00,000 will be awarded to the two winners of the Book Award in English and Hindi, and another Rs 1,00,000 to the winner of the Curator’s Award for Excellence in Writing on Cinema in an Indian Language. Arpita Das Curator

JURY

AMBARISH S AT W I K

KIRAN NAGARKAR

RENUKA SHAHANE

SAYEMA REHMAN

Ambarish is a Delhi-based vascular surgeon and writer. His novel Perineum: Nether Parts of the Empire was published in 2007. He is currently working on a collection of illustrated medico-sexual essays. His opinion pieces have appeared in Outlook, Tehelka, Open, Time Out and The Hindu BLink.

Kiran is one of the most significant names in modern Indian literature. He is a novelist, playwright, critic and screenwriter in Marathi and English. He was awarded the Sahitya Akademi Award in English for his epic novel Cuckold. His Ravan and Eddie is one of the finest portraits of Mumbai in literature.

Renuka is an actress, director and writer. She has been an actress in Indian theatre, television and film for the last 30 years. Her first directorial feature film Rita (2009) was screened at several festivals. It was critically acclaimed, and won her awards for her direction and screenplay.

Sayema is a radio presenter. She hosted the much-acclaimed Hindi retro night show, Purani Jeans. She currently hosts a national show called Meethi Mirchi. An award-winning radio jockey, Sayema brought the writing of authors like Saadat Hasan Manto to the radio.

BOOK AWARD FOR EXCELLENCE IN WRITING ON CINEMA

Arpita runs Yoda Press, an awardwinning independent publishing house. Arpita taught on the MA in Publishing programme at Ambedkar University as Adjunct Faculty in 2013 and 2014, and cofounded a self-publishing startup called AuthorsUpFront in early 2014. Between 2014 and 2017, she set up and led the Word Lab at the India Institute of Human Settlements in Bengaluru and taught the Writing Skills Lab there. She also curated three editions of the City Scripts Writings Festival in Bengaluru and New Delhi.

Our eminent jury had a delightful time reading all the longlisted titles (selected by curator Arpita Das) and then arrived at a common shortlist. It speaks volumes for the wonderful submissions this year that the shortlist took three days of deliberations. With more than one incisive academic analysis as well as titles that look beyond Hindi cinema and Bollywood, the book award is becoming truly representative of the best writing on pan-Indian cinema, which was our vision when the Award was first instituted in 2015.

Behind The Scenes

English Aysha Iqbal Viswamohan, Vimal Mohan John SAGE Publications, Rs 950 They are the ‘stars’ who sit behind the camera and create magic between ‘Action’ and ‘Cut’. Meet the directors of New Age cinema who with their themes, characteristic styles and masterful storytelling are bridging the gap between commerce and content, commercial and art-house cinema. This book introduces you to the films they have made and provides a critical analysis of their craft, while remaining grounded in cinematic and popular culture theories. It shows the distinct ways in which they have handled issues of gender, urban culture and social inequality.

Freedom: My Story

English Arunaraje Patil HarperCollins Publishers, Rs 399 Growing up in a newly free India, filmmaker Arunaraje Patil came to be deeply invested in the idea of freedom. To be truly independent, there was a lot of unlearning and disengaging she had to do: from conversations of the past, from who she knew herself to be and from the image in which she had trapped herself. This book is the chronicle of a radical thinker and filmmaker in a male-dominated world; her struggles, her inspirations, the prejudices she had to deal with and, ultimately, the freedom her art offered. As much as it is the story of one inspiring life, it also offers an acute look into a young, changing nation.

Lata: Sur-Gatha

Hindi Yatindra Mishra Vani Prakashan, Rs 695 Film scholar Yatindra Mishra engaged in a six-year long conversation with Bharat Ratna and legendary playback singer Lata Mangeshkar. Dedicated to her well-wishers, this book was made possible with her support and encouragement. It is a detailed, well-researched biography that goes deep into the story of the playback singer’s musical journey, and how she became India’s Nightingale.

Music, Masti, Modernity: The Cinema of Nasir Husain English Akshay Manwani HarperCollins Publishers, Rs 599

Debuting as a filmmaker in 1957 with Tumsa Nahin Dekha, Nasir Husain became one of the most successful filmmakers in Hindi cinema over the next 25 years, with musical blockbusters like Phir Wohi Dil Laya Hoon, Teesri Manzil, Caravan, Yaadon Ki Baaraat and Hum Kisise Kum Naheen. Through interviews with prominent film personalities such as Aamir Khan, Mansoor Khan, Asha Parekh, Javed Akhtar, Karan Johar and Aditya Chopra, the book looks at Husain’s legacy as one of Hindi cinema’s most important auteurs.

Sahir Samagra

Hindi Sahir Ludhianvi Rajkamal Prakashan, Rs 323 The collected works of Sahir Ludhianvi offer a glimpse into the life of this legendary poet and lyricist. Keenly alert to the injustice and narrow-mindedness of society, his poetic sensibilities were honed by the reality he saw. As a member of the Progressive Writers Movement, he wrote of the pain of famine-ridden villages and the suffering of street workers in the cities with equal depth and poignancy. Ludhianvi may not have received recognition from the critics of the time, but his songs and poetry have a permanent place in the hearts of the people.

Talkies: Cinema Ka Safar

Hindi Ajay Brahmatmaj, Mayank Shekhar Rajkamal Prakashan, Rs 299 Film scholars Ajay Brahmatmaj and Mayank Shekhar take readers on a journey to the world behind the camera in their conversations with stalwart directors about their art. Beginning at their homes, this journey traverses the twists and turns of the film industry. The authors tell us about the filmmaking process, using delightful anecdotes to go into the nitty-gritties, and we get to know how a film goes from an idea, to a story, to a script and finally a film.

Voices of the Talking Stars English Madhuja Mukherjee SAGE Publications, Rs 450

BOOK AWARD FOR EXCELLENCE IN WRITING ON CINEMA

The fourth book in the ‘Readings in Gender Studies’ series is a feminist historiography for films from the studio era (1930–55), compiled by the School of Women’s Studies, Jadavpur University. It interrogates the frameworks of film history, culture and politics, weaving in debates on romance, sexuality, body and masculinity. Examining new categories of analysis such as desire and disquiet, this volume brings together some rare photographs and writings by leading women actors from India and abroad.

Woman at the Window

English Shoma Chatterjee HarperCollins Publishers, Rs 499 Representations of women in Indian cinema are often warped and twisted, but one filmmaker who consistently steered clear of this was Satyajit Ray. None of Ray’s women on celluloid can be reduced to a cliché, particularly the women in his adaptations of Tagore’s stories. This book attempts a new way of looking at Ray’s films in general, and his films adapted from Tagore in particular, by contextualising the women by objects they are surrounded by or are fond of, or are habituated to using or learning to use over time.

Yesterday’s Films for Tomorrow English PK Nair Film Heritage Foundation, Rs 495

Known as India’s ‘Celluloid Man’, PK Nair (1933-2016) was a passionate cinephile and archivist who dedicated his entire life to saving the country’s cinematic heritage. Now, for the first time, Nair’s writings on cinema have been brought together in one volume. From evocative memories of movie-going to the hunt for Phalke’s films, from memoirs of the greats to essays on the Hindi film song and Devdas’s many avatars, this is a look at Nair’s love affair with cinema.

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DIMENSIONS MUMBAI I N C O M P E T I T I O N , F I CT I O N A N D D O C U M E N TA RY S H O R TS

B a m b a i wa l e Bulbula K h a d a Wa t c h m a n Lines LIVE M a d e Fo r E a c h O t h e r Me Noori P ya a d a Quell Susu Ta x i d e r m y : L i fe A f t e r D e a t h Thakur Sahab T h e F i rs t At t e m p t The Last Story Va c a n c y Wo l f o f C h a w l S t re e t

F

ew cities in the world can be as rich a treasure trove of stories as Mumbai. As Abbaji puts it aptly in Maqbool – “Mumbai hamari mehbooba hai.” This beloved muse has inspired a million stories and entertained people around the world. This year’s Dimensions presents an eclectic mix of fiction, music videos, documentaries and even a mockumentary. It was fascinating to see young filmmakers pick up a camera, go out and tell an honest story that they know best. The energy of these young filmmakers is indeed infectious. The Jio MAMI Mumbai Film Festival with Star screens some of the best films from around the world and it is nothing short of a privilege for these young filmmakers to not only screen their films on big screen, but also to share space with some of the biggest names of world cinema. It was heartening to see that among the distinctive themes this year in the submitted films were loneliness, isolation and suicidal tendencies amongst the youth. The country’s financial capital has earned the dubious distinction of being the nation’s death capital as well. These themes are dark reflections of the youth’s mood. If the films we’ve seen are any indication, it is indeed time for us to engage in person. The illusion of digital world needs to be broken and a conversation is the real need of the hour. This year, we have picked films based on three criteria: innovation, distinctive perspectives and technical proficiency. We were entertained with comedies, thrillers, science fiction, and thought provoking documentaries that showcased attributes of living in Mumbai. Our only advice to budding filmmakers is to respect sound and to give it as much attention as they do to visuals. Sound is 50 percent of cinema. Dubbing it or adding background music over the visual is often just not enough to recreate the world. Congratulations to everyone who made a film even before they’ve turned 25. Congratulations to those whose films are in Dimensions. We thank the Jio MAMI team for the opportunity to watch some of these gems before the world gets in on their talent.

HARDIK MEHTA Hardik is an independent filmmaker from India, working in both fiction as well as documentary genre. His Amdavad Ma Famous (2015) was one of the most-awarded documentary films of 2016. He has also co-written the screenplay for Vikramaditya Motwane’s Trapped (2017).His recent short film, The Affair, presented by Drishyam Films has received more than two million views on the internet.

SOMEN MISHRA Somen currently handles Creative & Development at Dharma Productions. Earlier, he was with Junglee Pictures and was instrumental in green-lighting and producing films like Talvar (2015), Bareilly Ki Barfi (2017) and the forthcoming Raazi. He has also been part of the news channel CNN-IBN, and quit after more than a decade of film journalism. His scripts have been selected for various script labs and he runs the popular cinema website, Moi Fight Club.

H E A D

O F

J U R Y

KABIR KHAN Kabir began his career as a documentary filmmaker. His documentary The Forgotten Army (1999), on Myanmar, won the Grand Jury Award at Film South Asia. His photographs from Afghanistan won photography awards at the 50th anniversary of the Geneva Convention in Switzerland in 1999 and the Nikon International Photo of the year in 2003. Today, Kabir is best known for his fiction features. He is a twice over National Award winning writer-director whose filmography includes Bajrangi Bhaijaan, Ek Tha Tiger and Kabul Express.

JURY

DIMENSIONS MUMBAI

T I L L OTA M A S H O M E Tillotama made her debut as an actress in Mira Nair’s Monsoon Wedding. After studying Educational Theatre, she returned to films and has since done more than 25 films, notably Qissa: The Tale Of A Lonely Ghost (2013) and A Death In The Gunj (2016).

83

DULQUER SALMAAN Dulquer made his acting debut in 2012, with Second Show and won the Filmfare Award for Best Male Debut. He has since garnered a following for his performances in award-winning films like Kammatipaadam (2016) and Charlie (2015). Over the past five years, he has acted in over 30 Malayalam and Tamil films, and is set to enter the Hindi film industry with the upcoming film, Kaarwaan.

RUCHIKA OBEROI Ruchika is a writer and director based in Mumbai. Her debut feature film Island City (2015) won the FEDEORA Award for Best Debut Director at Venice Days, Venice International Film Festival. The film travelled to over 30 international film festivals, winning several awards. She has recently written the story and screenplay of a short film, to be directed by Zoya Akhtar.

DILEESH POTHAN Dileesh is an actor and director known for his Malayalam films. He made his directorial debut with Mahesh’s Revenge (2016), which was both a commercial success and won the award for Best Feature Film in Malayalam at the National Film Awards. His most recent film, Thondimuthalum Driksakshiyum (2017), is a crime thriller and has received rave reviews.

C H I R AG AS H O K S U RYAVA N S H I

BAMBAIWALE  INDIA |  HINDI | h 4’ 58” | G 2017

In a phone conversation, a man tries to explain the city of Mumbai to his wife who lives far away. A city of dreams is brought to life with his words and descriptions.

DIMENSIONS MUMBAI

Chirag Ashok Suryavanshi has been actively involved in theatre and has worked as assistant director in the upcoming Marathi films, Bhirkit, Tu Ka Patil and Gypsy. This is his first film as a director.

BHANU BABBAL

BULBULA  INDIA |  HINDI | h 5’ | G 2017

It isn’t easy being God, as one man finds out when he dies unexpectedly and finds himself face to face with a disgruntled divinity.

Bhanu Babbal is an aspiring director and a cinematographer. He has produced, directed and shot more than 20 short films. He is currently assisting Shoojit Sircar on his forthcoming film, October.

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TA PA N N A R E N D R A G AO K A R

KHADA WATCHMAN  INDIA |  MARATHI | h 4’ 55” | G 2017

Go back in time to a Mumbai that saw workers strikes in the textile mills and pitted labourers against powerful, wealthy businessmen. It was a battle that reached epic proportions.

Tapan Narendra Gaokar began his career in advertising and is now a film director, writer and producer. His previous shorts are Siddhi Weds Vinayak and Mayanagri.

A A N A N D I TA BA N E R J E E , H I M A N S H U T I WA R I

LINES  INDIA |  HINDI, ENGLISH | h 2’ 43” | G 2017

Why is Nikita bunking school? Hint: Almost 76 per cent of Indian schools are run by the government and most don’t have functioning toilets. Imagine what means for a menstruating girl.

Aanandita Banerjee and Himanshu Tiwari both come from theatre backgrounds and hope to make films that will change the world for the better. This is their first film together.

ANKIT SHARMA

LIVE  INDIA |  HINDI | h 4’ 55” | G 2017

An engineer isn’t able to climb the corporate ladder and the stress that comes with his job. He decides to share his feelings on social media.

Ankit Sharma has studied film and direction at Indian Film and Television Institute, Meerut. He’s been struggling to make a career in the Mumbai film industry for the past three years. This is his third short film.

A K S H AY A M BA DAS T E M K A R

MADE FOR EACH OTHER  INDIA |  MARATHI | h 5’ | G 2017

A teacher who religiously takes the same Mumbai local home every day is reminded of something that she’d lost sight of in the drudgery of everyday life.

Akshay Ambadas Temkar is a writer and director. He has written four short films.

DIMENSIONS MUMBAI

G A N ES H PAWA R

ME  INDIA |  MARATHI | h 4’ 40” | G 2017

How does a humble, everyman worker survive in a city as sharp-edged as Mumbai? Find out in this short film.

Ganesh Pawar is a struggling director. This is his first short film.

KANISHK SETH

NOORI  INDIA |  HINDI, ENGLISH | h 5’ | G 2017

A new musical instrument has been invented and it’s called Noori. Discover how it came to being and how it will change music in the future.

Kanishk Seth is an aspiring writer and filmmaker. He has previously made short films, including Bombai which received a nomination from Filmfare Short Film Awards.

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D E E K S H A R AT H O R E , K U N A L A H UJ A

PYAADA  INDIA |  HINDI | h 4’ 59” | G 2017

When Mr Kothari’s daughter is kidnapped, he is ready to do anything to save her. But the kidnappers have an unusual demand. He has to kidnap someone else’s daughter.

Deeksha Rathore and Kunal Ahuja are students of Mass Media at Jai Hind College. This is Deeksha’s directorial debut. Kunal has directed one short film before.

YAS H S O L A N K I

QUELL  INDIA |  ENGLISH | h 5’ | G 2017

How far would you go for love? Sam will go to another planet to find the person he fell in love with through messages.

Yash Solanki is studying film direction at Whistling Woods International. He has made 10 short films

ABHISHEK KHAN

SUSU  INDIA |  HINGLISH | h 4’ 59’ | G 2017

A young man finds himself faced with a curious problem. He needs to pee, but it looks like the entire city has decided to make sure he doesn’t get to a bathroom.

Abhishek Khan runs a theatre company for young adults. This is his first film.

AMOL NARVEKAR

TAXIDERMY: LIFE AFTER DEATH  INDIA |  HINDI, ENGLISH | h 5’ | G 2017

A short documentary on Dr Santosh Gaikwad, who is India’s best and only taxidermist.

Amol Narvekar is a student of Mass Media at Kirti College. This is his second short film.

DIMENSIONS MUMBAI

A D I T YA G O SA R , R AG H U BA B BA L

THAKUR SAHAB  INDIA |  HINDI, ENGLISH | h 4’ 59” | G 2017

This is the true story of Vijay Thakur. He’s been a taxi driver in Mumbai for nearly 30 years. He stands out because he doesn’t charge a fare to people who need to get hospitals.

Aditya Gosar and Raghu Babbal are both students at UPG College. Both are aspiring filmmakers. This is their first film.

AMAAN SHAIKH

THE FIRST ATTEMPT  INDIA |  ENGLISH, HINDI | h 4’ 58’” | G 2017

An artist finds himself at a staircase, looking at paintings that seem familiar. He realises why — they are his memories, but what are they trying to tell him?

Amaan Shaikh is a graduate of Mithibai College. This is his first film.

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N U PU R BA J PA I , R I S H A B H KU M A R

THE LAST STORY  INDIA |  HINDI, ENGLISH | h 4’ 59” | G 2017

A struggling writer decides to make one last effort to pitch his idea to a film producer. He gets the chance to do so in an unusual way when the writer turns out to be driving a cab that the producer has hired. Nupur Bajpai and Rishabh Kumar are both aspiring filmmakers. Both have directed one short film each, and have worked on ad films and corporate videos.

ANURAG BHUPEN WORLIKAR

VACANCY  INDIA |  HINDI | h 5’ | G 2017

Durgesh Kumar is in the running for a seat, one that lots of people want. Can he crack the interview? Does he have what it takes?

Anurag Bhupen Worlikar was introduced to the world of film as a child actor. Since then he has studied Mass Media and now works as an assistant director. This is his fifth short film.

PRANAV BHASIN

WOLF OF CHAWL STREET  INDIA |  HINDI, ENGLISH | h 4’ 58” | G 2017

Shot in the style of a mockumentary, this is the story of a painter who ends up becoming “Nagpada ka Baadshah”, courtesy a little artistic vandalism.

Pranav Bhasin is an aspiring filmmaker and also interested in other aspects of cinema, like cinematography, editing and acting. His previous work includes the short film Silly Sheep and the web series, The Insiders.

ROYAL STAG BARREL SELECT LARGE SHORT FILMS CATEGORY

SUJ OY G H O S H

ANUKUL h 21’ 52”

Based on a short story Satyajit Ray wrote in 1976, Anukul is about a very special student that Hindi teacher Nikunj Chaturvedi had. The student, named Anukul, is the most diligent Chaturvedi had seen. Anukul is also a robot.

Sujoy Ghosh has a degree in engineering and an MBA from Manchester University, but his passion is cinema. His 2012 release Kahaani, featuring Vidya Balan in the lead, was both a commercial success and critically acclaimed. His short film Ahalya (2015) was one of the first Indian short films to go viral and ushered the trend of the large short films

MANSI NIRMAL JAIN

CHHURI h 14’

When an unassuming housewife’s philandering husband goes too far, the wife steps up to confront her husband’s mistress. However, there’s a twist in the tale and the consequences are surprising.

Mansi Nirmal Jain studied screenwriting and direction at Columbia University School of the Arts. She has also studied acting and directing at Harvard University under Marcus Stern. Her latest short film, Everything is Fine (2017) was awarded the prestigious $15,000 Katharina Otto Bernstein Grant and she is currently developing it into a full-length feature.

C H A I TA N YA TA M H A N E

DEATH OF A FATHER h 10’ 16”

Babu, in his late 20s, is a Bengali who’s been brought up in Uttar Pradesh. His first tryst with death is when his father passes away. Struggling to cope with the loss, Babu blindly follows whatever he is asked to do for the age-old funerary rituals. Death ends up being just another mundane routine in this animated film.

N E E R A J G H AY WA N

JUICE h 14’ 44”

The Singhs are hosting a family gettogether. While the men drink and eat in the large air-cooled living room, the women sweat it out in the kitchen without a fan. Manju, the hostess, shuttles between both the rooms on this hot summer night that is simmering with kitchen and gender politics.

Neeraj Ghaywan’s Masaan (2015) was selected for Un Certain Regard at Cannes Film Festival and won the FIPRESCI prize. He also received the Indira Gandhi Award for the Best Debut Film at the 63rd Indian National Film Awards.

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ROYAL STAG BARREL SELECT LARGE SHORT FILMS CATEGORY

Chaitanya Tamhane’s debut feature film Court (2014) premiered at the Venice International Film Festival and was awarded Best Film in the Horizon category. It went on to win over 30 awards at international film festivals worldwide and was also India’s entry to the Oscars. Prior to film, he was a theatre director and playwright. He is one of the directors chosen by Rolex for their ‘Mentor and Protege’ programme.

JURY

NITYA MEHRA

RAJKUMMAR RAO

SRISHTI ARYA

Nitya Mehra studied literature in Delhi University and filmmaking at New York University. After working on a Spike Lee production as a production assistant, she returned to India to pursue her dream of making films. In 2016, she released her first feature film, Baar Baar Dekho. The film was produced by Excel Entertainment (Farhan Akhtar & Ritesh Sidhwani) and co-produced by Dharma Productions (Karan Johar). She is now working on her next film script.

Rajkummar Rao is one of the most versatile actors in the country today. He won a National Award for his performance in Shahid (2013). A method actor in the truest sense, his performances have ranged from comic in the recent Bareilly ki Barfi (2017) to harrowing in Trapped (2016). His latest film is Newton (2017), which has been selected as India’s nominee to the Oscars.

Srishti Arya was to the film industry born. Daughter of producer Ramesh Behl and sister of filmmaker Goldie Behl, Srishti made her production debut with Angaaray (1998). Following this, Sristhi produced Goldie’s directorial debut, Bas Itna Sa Khwaab Hai (2001), which she also co-wrote. Apart from Bollywood, Srishti has also made a name for herself on the small screen. Her shows have been described as bold and new-age. Currently, she has the mega scale show, Aarambh, on air on Star Plus, and more shows in the pipeline.

A

short film — unlike a feature film — can have a longer, deeper relationship with its viewer. Since it’s ‘short’ and usually seen on a medium where the viewer is in control – online, you can pause/ rewind/ rewatch freely — a short film can be revisited again and again, like listening to that favourite song many times. Over your lifetime, a short film can earn a longer-term commitment from you. It could even allow for a deeper, more intimate relationship than you have with a full-length feature.

ROYAL STAG BARREL SELECT LARGE SHORT FILMS CATEGORY

I try to layer my short film scripts with elements that reveal themselves only on a rewatch. For example, there’s a dodo on in El’ayichi. It’s only on a second or third watch that most people even notice it and when they do, it becomes a “waitafuckinminute” moment. That’s when they and I connect, virtually but powerfully. That’s how the experience of watching a film turns into a relationship as an audience slowly discovers a film’s traits and secrets. Questions stay unanswered. Characters stay partially undiscovered. The story feels like it could go on. As a result, I’ve had people tell me they watched my short film as many as 15 times! That’s something that’s hard to imagine with any of my other, fulllength films. There is an unbridled freedom shorts allow. The shorter the time the viewer has to invest, the less they have to pay (in the case of the Internet, often nothing!), the higher the chances of us — filmmakers — having the freedom to say what we want to say, the way we want to say it while holding on to a viewer’s attention. And I’d rather have my viewer pay me attention over money any day. Like I said before, in a short film, it’s hard to ‘end’ a story in a conventional way. Ending a film may not mean the end the story, but rather a crossroad from which the characters go on in different directions that the viewer can imagine. Sometimes, to help us focus on what matters, endings come abruptly. Quite like I’m now going to do with this piece, leaving you to follow the journeys on which this year’s selected films have embarked. Devashish Makhija

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R U C H I J O S H I , S R I R A M G A N A PAT H Y

A N UJ G U L AT I

MURAKH

THE MANLIEST MAN

h 18’ 28”

h 22’ 40”

AHMED ROY

RITURAJ DHALGADE

THE THOUGHT OF YOU

AN INVITATION

h 15’ 7”

h 12’

SNEH NIHALANI

G A U TA M VA Z E

KEEDA

AAI SHAPATH

h 25’ 11”

h 14’ 48”

NITIN MAHAJAN

D E E PA K M A L I K

MEETHA PAAN

BEHRUPIYA: THE LAST ACT

h 20’ 40”

h 20’

PUS H PA K J A I N

FARCHAA

ALAKSHA

h 24’ 50”

h 15’ 22”

V I N O D R AWAT

VINOD KAMBLE

MAD

POST MORTEM

h 22’ 24”

h 24’ 56”

SUMIT KUMAR

MAANAVI BEDI

MEERA

COUNTING STARS

h 16’ 04”

h 10’ 15”

SHUBHRA VANDIT

STREET TALK h 3’ 44”

ROYAL STAG BARREL SELECT LARGE SHORT FILMS CATEGORY

SISIR KUMAR SAHU

MAMI TRIBUTE OM PURI

A rd h S a tya East Is East J a a n e B h i D o Ya a ro Pa t a n g T h e H u n d re d - Fo o t J o u r n ey

REMEMBERING OM “Rehne ko sada dehr mein aata nahi koi Tum jaise gaye aise bhi jaata nahi koi…” ~ Kaifi Azmi I still remember the first time I saw Om Puri at Prithvi Theatre. It was in the play Udhwast Dharamshala and I was struck by how effortlessly he delivered a stellar performance. Soon after, I would see him in an adaptation of The Miser, playing a role that was starkly different in tone and temperament. Once again, he was wonderful. I remember thinking I would like to work with him some day. And I did. I have had the good fortune of doing 14 films with Om Puri. Many of them had long outdoor schedules during which it is easier to strike up friendships that last beyond the film’s completion. We spent lots of happy times together. He could be quite gregarious and he wore his fame lightly, almost too lightly. When MAMI asked me to curate a section on Om, I jumped at the offer. Little did I realise what a tough task it would be to select only five films of his. I haven’t included Aakrosh (1980) or Arohan (1983) although he was terrific in both of them. I’m sure his fans will feel that justice has not been done to his work in this selection, but I’ve tried to showcase films that throw light on his versatility, his brilliance and his ability to take a minor role and make it feel significant. Om was one of the first actors to ‘cross over’ and do films abroad. The international recognition he achieved for his performances in films like My Son the Fanatic (1997) established his acting credentials on foreign shores. Few Indian actors have become as widely-known as Om was abroad, but he never tom-tommed his success. I was thrilled when I learned he was going to work opposite Helen Mirren and called him up excitedly. He was pretty nonchalant about it, and it was not pretence. I think he could have got a lot more work abroad if he had made more of an effort to get a stronger foothold in international cinema, but Om was always convinced that his base was here in India. He knew he belonged here. While filming City of Joy (1992) director Roland Joffe and our co-star Patrick Swayze were amazed to find hordes of fans almost trampling over themselves to get a glimpse of Om. Om and I stood atop a truck with megaphones in our hands and pleaded with the crowds to make way for the unit to shoot. They chanted back, “Om-da, aami tomake bhalobashi!” (“Brother Om, we love you!”) and refused to budge. Finally, we advised Roland that the only way to shoot on the streets was to do away with all the paraphernalia, hide the camera in the car, and let us out on the street, guerrilla style. That’s how all the rickshaw-pulling shots in the film were done. He immersed himself in the character so completely — lost weight, blackened his teeth, changed his gait — that he could do the long rickshaw pulling shots on the streets of Kolkata without drawing attention to himself. During the making of Shyam Benegal’s Susman, he internalised the character of Ramulu so completely that he withdrew into a shell, chose to stay in a weaver’s modest hut in the village rather than at the hotel with the rest of us. He learned how to weave and even wove me a beautiful Ikat dupatta. That was Om, that was how he poured all of himself into the roles he played, breathing life into inanimate words and turning characters into people. As for that dupatta, I still have it. Shabana Azmi

G OV I N D N I H A L A N I

ARDH SATYA  HINDI  INDIA h 130’ G 1983

DIRECTOR GOVIND NIHALANI

CINEMATOGRAPHER GOVIND NIHALANI

SCREENPLAY VASANT DEV, VIJAY TENDULKAR

EDITOR RENU SALUJA

CAST OM PURI, SMITA PATIL, AMRISH PURI, SHAFI INAMDAR, NASEERUDDIN SHAH

PRODUCERS MANMOHAN SHETTY, PRADEEP UPPOOR

DA M I E N O’ D O N N E L L

EAST IS EAST  ENGLISH, URDU  UNITED KINGDOM h 96’ G 1999

George Khan has lived in Salford for years, running a chip shop. His English may be broken, but his male ego is very much intact. As the patriarch of a family that’s finally wriggling out from under his thumb, George finds himself in situations he hadn’t anticipated when his family — including the long-suffering English wife whom he has regularly beaten — stands up to him. Om Puri’s superb performance as George balances the patriarch’s bluster and humour with darker, more disturbing details.

DIRECTOR DAMIEN O’ DONNELL

CINEMATOGRAPHER BRIAN TUFANO

STORY/SCREENPLAY AYUB KHAN-DIN

EDITOR MICHAEL PARKER

CAST OM PURI, LINDA BASSETT, ARCHIE PUNJABI, JIMI MISTRY PRODUCERS LESLIE UDWIN, ALAN J WANDS

PRODUCTION COMPANY FILM FOUR, BBC FILMS, ASSASSIN FILMS

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MAMI TRIBUTE

Sub-Inspector Ananth Velankar is an honest police officer in a dishonest system. The story is a familiar one, particularly in Bollywood, but this was a script without clichés. Nuanced characters, crackling dialogue that was punchy and pungent, unforgettable moments of raw intensity like when Ananth vents his frustration at the outer world by brutally beating suspects in a police cell — Govind Nihalani’s film is legendary and it has one of Om Puri’s finest acting performances as the seething Ananth.

KU N DA N S H A H

G O U TA M G H O S E

JAANE BHI DO YAARO

PATANG

 HINDI  INDIA h 132’ G 1983

 HINDI  INDIA h 104’ G 1983

Satire is rarely as dark or as funny as this madcap caper through Eighties’ Mumbai. Two photographers accidentally photograph a murder and tumble into a rabbit hole of bureaucracy, corruption, politics and more. Om Puri played Ahuja, a snarling builder. He’s got many great moments in the film, but there’s no doubt that in the hilarious Mahabharata scene, Om Puri stole the show.

In Manpur, a station near Gaya, Somra, an adolescent who loves flying kites, is torn between his alcoholic father and his uninterested mother who has an illicit relationship with a local peddler. This is the second film that Om Puri would do with director Goutam Ghose. Ghose remembers when Puri didn’t have scenes, he’d help out by holding a reflector or helping the trolley operator.

DIRECTOR KUNDAN SHAH

EDITOR RENU SALUJA

DIRECTOR GOUTAM GHOSE

EDITOR MOLOY BANERJEE

STORY/SCREENPLAY SUDHIR MISHRA, KUNDAN SHAH

CAST NASEERUDDIN SHAH, RAVI BASWANI, OM PURI, SATISH SHAH

STORY/SCREENPLAY GOUTAM GHOSE, AIN RASHEED KHAN, SANJAY SAHAY

CAST SHABANA AZMI, OM PURI, SHAFIQ SYED, RABI GHOSH

CINEMATOGRAPHER BINOD PRADHAN

PRODUCTION COMPANY NATIONAL FILM DEVELOPMENT CORPORATION

PRODUCERS SANJAY SAHAY, DURBA SAHAY PRODUCTION COMPANY GNS MOTION PICTURES

CINEMATOGRAPHER GOUTAM GHOSE

Om Puri (1950-2017) was one of the most gifted actors of his generation and among the first set of Indian actors to work in foreign films. Born in Ambala to a humble family that faced a series of misfortunes, as a child he worked odd jobs to make ends meet. After finishing school, he first joined National School of Drama and then went to study at Film and Television Institute of India at time when it was the stomping ground for some of India’s finest actors, directors and technicians. His ability to inhabit a role and his versatility made Puri a favourite of both directors and audiences. Whether it was a dramatic moment or comedy, Puri could perform it with effortless authenticity. While his personal life remained turbulent and disturbed, on screen Puri was always a joy to watch, no matter how small or large the role. When he passed away, he left behind a filmography that boasts of a phenomenal 309 credits as an actor. FILMOGRAPHY

Ghashiram Kotwal (1976), Bhumika (1977), Aakrosh (1980), Kalyug (1981), Jaane Bhi Do Yaaron (1983), Ardh Satya (1983), Mandi (1983), City of Joy (1992), East is East (1999), Maqbook (2003), Charlie Wilson’s War (2007), The Reluctant Fundamentalist (2012), A Death In The Gunj (2016)

L AS S E H A L L ST R Ö M

THE HUNDRED-FOOT JOURNEY  ENGLISH  UNITED KINGDOM h 122’ G 2014

DIRECTOR LASSE HALLSTRÖM

CINEMATOGRAPHER LINUS SANDGREN

STORY/SCREENPLAY STEVEN KNIGHT

EDITOR ANDREW MONDSHEIN

CAST HELEN MIRREN, OM PURI, MANISH DAYAL, CHARLOTTE LE BON

PRODUCERS JULIET BLAKE, STEVEN SPIELBERG, OPRAH WINFREY

PRODUCTION COMPANY DREAMWORKS PICTURES, RELIANCE ENTERTAINMENT, PARTICIPANT

MEDIA, IMAGE NATION, AMBLIN ENTERTAINMENT, HARPO FILMS

MAMI TRIBUTE

An Indian family moves to France and sets up a restaurant opposite a well-established French haute cuisine restaurant. Though the film focused upon the young Indian son trying to hold on to his Indian culinary roots in a new food culture that he finds exciting, the scenes in which Helen Mirren and Om Puri are seen together feature among the film’s highlights.

JIO MAMI CONTENT STUDIO F R O M S C H O O L TO S C R E E N

Pe r f u m e Dawn D re a m s S h u n ya A i s h wa r ya ’s S i s t e r B e l o n g i n gs T h e Lo rd T h e M a r ke t Detour T h e At m o s p h e re I s N o t R i g h t

Fro m l e f t t o r i g h t : A r j u n G o u r i s a r i a , A s h w i n y I ye r T i wa r i , B h a ra t B a l a , H a rs h a va rd h a n K u l k a r n i , H a n s a l M e h t a , M u ke s h C h h a b ra , R a n ga n C h a k ra va r ty, R a m M a d h va n i , Re n s i l D’S i l va , Ro n n i e L a h i r i , S m r i t i K i ra n , U r m i J u ve k a r

“W

e are privileged to introduce The Jio MAMI Reliance Foundation Award for Excellence in Digital Content. We hope that this award will encourage young talent to break the boundaries of their creative prowess and take Indian cinema to new and greater heights, especially in the digital space.”

- Nita M Ambani, Founder-Chairperson, Reliance Foundation & Co-chairperson, Jio MAMI

Thus started a unique contest to find young and talented filmmakers across India, the Jio MAMI Reliance Foundation Awards 2017 – For Excellence in Digital Content. Over 900 applications supported with a story synopsis and a treatment note poured in. An online Masterclass was organised for the applicants on the Jio network. Conducting the Masterclasses were some of Indian cinema’s most exciting directors and writers — Ram Madhvani, Rensil D’Silva, Ashwiny Iyer Tiwari, Hansal Mehta and Bharat Bala. The Masterclass received over 1.1 million views across all Internet platforms. A select team of readers, including director Ashwini Iyer Tiwari, shortlisted 25 applicants who were invited for the Mumbai Residential Masterclass. The Mumbai Residential Masterclass was held on July 29 and 30, 2017. All expenses were taken care of by Reliance Foundation. Here the participants were assessed and at the end of day one, 10 made the cut. In keeping with the promise of a ‘school-to-screen’ mentorship for the contestants, two of the selected 10 would be making their first films for this unique contest. On day two, the chosen 10 were offered the financial grant to produce their films and were individually mentored by top professionals from the film industry, including Ronnie Lahiri (producer of Vicky Donor, Madras Café, Pink), Mukesh Chhabra (casting director for Gangs of Wasseypur, Dangal), Harshavardhan Kulkarni (writer – director, Hunterr, Writer – Hassee to Fasee), Urmi Juvekar (writer – Shanghai, Detective Byomkesh Bakshy!) and Rangan Chakravarty (filmmaker, TV producer and advertising professional). The top 10 were asked to work on their scripts and work closely with their assigned mentors, and prepare for production. The short time and monsoons proved to be a challenge as was the sudden drop out of one participant. Finally all 10 were done and are now ready to be screened at Jio MAMI 2017, followed by premiere on Jio Cinema. This has been an incredible journey of finding talent and making their dreams come true. – Kaushik Roy (Creative Producer – Jio MAMI Reliance Foundation Awards 2017 – For Excellence in Digital Content) and Team Jio MAMI Content Studio

JURY

H A N S A L M E H TA Hansal Mehta won the 2013 National Film Award for Best Direction for his film Shahid (2012). Shahid had its world premier at the 2012 Toronto International Film Festival, following which it had an extended run at various international film festivals. He then directed City Lights (2014) and Aligarh (2015). Aligarh premiered at the 20th Busan International Film Festival and went to the BFI London Film Festival. It was also the opening film at the 17th Jio MAMI Mumbai Film Festival. His latest films are Simran (2017) and Omerta (2017).

S H A K U N BAT R A Shakun Batra is the director and co-writer of the widely acclaimed family drama, Kapoor & Sons (2016). Of late he’s been obsessed with Virtual Reality and now he spends all his extra hours trying to bring this new medium to the forefront in India.

TANNISHTHA CHATTERJEE Tannishtha Chatterjee is an award-winning actress, known for taking on challenging roles. Her notable films include Brick Lane (2007) and Island City (2015). She was recently seen in the Oscar-nominated Lion (2016) and in Doctor Rakhmabai (2016), a biopic based on the life of the first practicing Indian female doctor of India. Tannishtha has been part of many international film juries, including the Asia Pacific Screen awards.

109

ASHUTOSH KUMAR

DAWN (BHOR) h 10’10”

ANIKET MITRA

AT H I T H YA K A N AG A R A J A N

PERFUME (AATOR)

DREAMS (DREAMS )

h 9’ 59”

h 9’ 40”

D I V YA N K AG A R WA L

SHUNYA (SHUNYA) h 10’ 8”

N I T E S H B H AT I A

AISHWARYA’S SISTER (AISHWARYA KI BEHEN) h 10’ 22”

S I D D H A R T H J AT L A

YA S H O V A R D H A N M I S H R A

BELONGINGS

THE MARKET

(BELONGINGS )

(MANDI) h 10’ 10”

h 10’ 7”

SANJU KADU

THE LORD (BAPPA) h 7’ 2”

S U M I M AT H A I

DETOUR (DETOUR) h 10’ 10”

VA R U N PAT I L

THE ATMOSPHERE IS NOT RIGHT

(MAHAUL SAHI NAHI HAI) h 10’ 00”

111

AFTER DARK

T H E FA N TA ST I C A N D T H E F R I G H T F U L

68 Kill Bad Black I t C o m e s At N i g h t K i l l i n g G ro u n d M e a t b a l l M a c h i n e Ko d u k u M o n M o n M o n M o n s t e rs 1 6.03 Commune Death Metal Ke e p O u t O f C h i l d re n ’s Re a c h Spoiler Alert S u p e r p owe r G i r l

The Jio MAMI 19th Mumbai Festival is proud to present the third edition of After Dark, a section made up genre films with thrills, chills, action and more in extreme measures. What we bring you here are the films mostly ignored by the mainstream industry: low budget horror and action thrillers. The genre of so-called ‘b-movies’ has been around since 1940s and had its glory days in the ’70s and the ’80s, and then slowly were dismissed. Only in the last decade or so, with successes by Blumhouse, A24 and XYZ, have Hollywood and global mainstream studios begun to pay close attention once again to the genre. Studios (such as American International Pictures, which gave a start to many future star directors, including Francis Ford Coppola, Martin Scorcese, Jonathan Demme and Ron Howard) and cult Hollywood exploitative film franchises like A Nightmare on Elm Street (1984) and Texas Chainsaw Massacre (1974) are now being recognised and appreciated. Their formulae are now firmly embedded in global, modern-day mainstream horror films, displaying the power of genre films. Considering all this, it has been an excruciating process to select this year’s After Dark. When we conceived After Dark three years ago, we were unaware of what to expect. Our intention was to acquaint Indian audiences to these ‘cult films’. Now we realise the hunger for these genre titles from the younger generation. And so we present the prototype of extreme fantastic genre films for the maximum (guilty) pleasures of our audiences. We hope you enjoy this year’s After Dark!

Jongsuk Thomas Nam

JONGSUK THOMAS NAM Born in Seoul, Korea in 1968, Jongsuk migrated to USA in 1980 and received his BA from the University of Maryland (UMCP) in 1993. He returned to Korea in 1995 and joined Busan International Film Festival in 1997 as a curator. He joined Bucheon International Fantastic Film Festival (BiFan) in 2007 as the festival consultant and, since 2009, is the Managing Director of Network of Asian Fantastic Films (NAFF) and BiFan Programmer of English-language territory since 2016. He has served as a jury for prestigious festivals like Berlinale and Sitges, as well as an adviser to numerous global genre film industries.

TRENT HAAGA

68 KILL



ENGLISH

 USA

h 94’

G 2017

AFTER DARK

FICTION INDIA PREMIERE

DIRECTOR TRENT HAAGA STORY/SCREENPLAY TRENT HAAGA CINEMATOGRAPHER NEEDHAM B SMITH

CAST MATTHEW GRAY GUBLER, ANNALYNNE MCCORD, ALISHA BOE, SHEILA VAND, SAM EIDSON

EDITOR VALERIE KRULFEIFER

PRODUCERS TRAVIS STEVENS, DAVID LAWSON, BOB PORTAL

SOUND DESIGN MATT OLIVIO

SALES AGENT PLAYTIME

FESTIVALS AND AWARDS FILMOGRAPHY Chop (2011), Cheap Thrills (2013)

A kind-hearted Chip lives with his white-trash girlfriend Liza in a trailer park. He is head over heels in love with her and reluctantly agrees to her ‘perfect plan’ of robbing her rich sugar daddy. After all, $68,000 is a lot of money and they are tired of living in poverty. However, what follows are unexpected killings, a kidnapping, Chip witnessing the maniacal side of Liza and being on the run. In the process, he runs into a motley crew of weirdos that leads him to the most terrifying journey of his life. To describe this as ‘an exploitative film’ is an understatement, as 68 Kill goes beyond offensive in over-the-top situations and character descriptions. But the film sustains its outrageous humour till the end, making this a one-of-a-kind thrilling joyride and a treat for fans of the grindhouse genre. AUDIENCE AWARD | SXSW FILM FESTIVAL

Trent Haaga has been involved in over 50 feature films as a screenwriter, producer, director and actor. He is a a former member of the infamous Troma Entertainment, the screenwriter of the SXSW Audience Award Winner Cheap Thrills (2013) and the cult hit Deadgirl (2008), among many others.

115

NABWANA IGG

BAD BLACK

 LUGANDA, ENGLISH

 UGANDA

h 68’

G 2016

FICTION ASIA PREMIERE

DIRECTOR NABWANA IGG STORY/SCREENPLAY NABWANA IGG, ALAN HOFMANIS CINEMATOGRAPHER NABWANA IGG EDITOR NABWANA IGG

CAST NALWANGA GLORIA, ALAN SSALI HOFMANIS, BISASO DAUDA PRODUCERS NABWANA IGG, ALAN HOFMANIS PRODUCTION COMPANY WAKALIWOOD

SOUND DESIGN NABWANA IGG

FESTIVALS AND AWARDS

FILMOGRAPHY Who Killed Captain Alex: Uganda’s First Action Movie (2010), Return of Uncle Benon (2010), Rescue Team (2011), The Cannibals (2011)

Produced against the background of slums in Uganda, mixed with icons from Hollywood action movies from the 1980s, this is the story of a female protagonist named Bad Black who was abandoned as a child and survived on the streets. Incorporating not-so-spectacular special effects, like shoddy blue screen, and hysterical, grotesque explanations from the narrator, it reminds us of silent-film narrators of the early Kino days. The film is a DIY masterpiece more than compensating its miniscule budget. It is also an homage to the ’70s blaxplotation films, incorporating a ‘good vs evil’ structure with slumdwellers as protagonists who sternly punish the rich and the bad. The film also reveals the reality and suppressed anger of the lower classes in Uganda. BUCHEON INTERNATIONAL FANTASTIC FILM FESTIVAL | FANTASTIC FEST | BRUSSELS INTERNATIONAL FANTASTIC FILM FESTIVAL | FANTASIA INTERNATIONAL FANTASTIC FILM FESTIVAL

Isaac Godfrey Geoffrey (IGG) Nabwana produces, directs, shoots, writes, and edits action films from his home in the slums of Wakaliga, Uganda, aka ‘Wakaliwood’.  A selftaught filmmaker, IGG has produced over 45 feature films including the viral sensation, Who Killed Captain Alex: Uganda’s First Action Movie (2010).

T R E Y E DWA R D S H U LTS

IT COMES AT NIGHT



ENGLISH

 USA

h 95’

G 2017

AFTER DARK

FICTION INDIA PREMIERE

DIRECTOR TREY EDWARD SHULTS STORY/SCREENPLAY TREY EDWARD SHULTS CINEMATOGRAPHER DREW DANILES EDITOR MATTHEW HANNAM, TREY EDWARD SHULTS

CAST JOEL EDGERTON, CHRISTOPHER ABBOTT, CARMEN EJOGO, RILEY KEOUGH PRODUCERS DAVID KAPLAN, ANDREA ROA PRODUCTION COMPANY A24 SALES AGENT A24

FESTIVALS AND AWARDS FILMOGRAPHY Krisha (2015)

Seventeen-year-old Travis grapples with mounting terrors — both external and internal — in the aftermath of an unnamed cataclysm. Secure within a desolate home with his vigilant, protective and heavilyarmed parents, he navigates fear, grief and paranoia amid scarce resources. When a desperate young couple seeks refuge, Travis’s father joins forces with them, but despite the best intentions of both families, panic and mistrust boil over. The horrors of the outside world creep ever closer, but they are nothing compared to the horrors within, as Travis discovers that his father’s commitment to protecting the family may cost him his soul.

OVERLOOK FILM FESTIVAL | CHAMPS ÉLYSÉES FILM FESTIVAL

Trey Edward Shults is a writer and director. He got his start in film when he worked in various capacities on the productions of three Terrence Malick films: The Tree of Life (2011), Voyage of Time (2016) and Song To Song (2017). He made his feature film debut with the award-winning Krisha (2015).

117

DAMIEN POWER

KILLING GROUND

 ENGLISH

 AUSTRALIA

h 89’

G 2016

FICTION ASIA PREMIERE

DIRECTOR DAMIEN POWER STORY/SCREENPLAY DAMIEN POWER

CAST AARON PEDERSEN, IAN MEADOWS, HARRIET DYER, AARON GLENANE

CINEMATOGRAPHER SIMON CHAPMAN

PRODUCERS JOE WEATHERSTONE, LISA SHAUNESSY

EDITOR KATIE FLAXMAN

SALES AGENT PLAYTIME

SOUND DESIGN CATE CAHILL, SERGE LACROIX

FESTIVALS AND AWARDS

Ian and Sam are a couple out to his favourite campsite for a romantic weekend. Once there, they notice another tent has been set up a tent at their site, but there are no signs of the owners. When Ian and Sam find an infant wandering around the bushes, they fear something horrible may have happened to the tent’s occupants. They are about to find out in person by whom and how. The film serves up character studies that make everyone, even the monstrous, feel human. The director also runs the story parallel with flashbacks, letting the audiences in on what what took place and what is about to be bestowed.

SUNDANCE FILM FESTIVAL | MELBOURNE INTERNATIONAL FILM FESTIVAL | OVERLOOK FILM FESTIVAL | EDINBURGH INTERNATIONAL FILM FESTIVAL

Damien Power studied direction at the Australian Film, Television and Radio School. He has written and directed several award-winning shorts that have screened at many festivals and as part of YouTube and Scott Free Productions’s inaugural Your Film Festival. Killing Ground is his first full-length feature film.

YOSHIHIRO NISHIMURA

MEATBALL MACHINE KODUKU (KODOKU: MÎTOBÔRU MASHIN)



JAPANESE

 JAPAN

h 100

G 2017

AFTER DARK

FICTION INDIA PREMIERE

DIRECTOR YOSHIHIRO NISHIMURA

SOUND DESIGN KO NAKAGAWA

STORY/SCREENPLAY YOSHIHIRO NISHIMURA, SAKICHI SATO

CAST YOJI TANAKA, YURISA, TAKUMI SAITOH

CINEMATOGRAPHER KEIZO SUZUKI

PRODUCERS YUDAI YAMAGUCHI, YUKIHIKO YAMAGUCHI, TOMOHARU KUSUNOKI

EDITOR YOSHIHIRO NISHIMURA

SALES AGENT KING RECORDS CO LTD

FESTIVALS AND AWARDS

FILMOGRAPHY Tokyo Gore Police (2008), Mutant Girls Squad (2010), The Ninja War Of Torakage (2014)

A sequel to 2005 original horror classic Meatball Machine, this film retains the setup of necroborgs invading human bodies, but incorporates new characters and a different storyline. Yuji is in his 50s, stuck in a meaningless job, and has been diagnosed with terminal cancer. When he turns into a necroborg, he somehow maintains his humanness and fights other crazed necroborgs as well as the aliens controlling them. There’s also an innocent schoolgirl in this mix, whom Yuji fancies. Nishimura is often described as the maestro of Japanese hardgore and he is able to further his outrageous gore effects and kinkiness to the delights of hardcore fans. This is a film that requires a bit of endurance. It is for audiences to challenge their senses and decide if this is art or filth. SXSW FILM FESTIVAL | OVERLOOK FILM FESTIVAL | KARLOVY VARY INTERNATIONAL FILM FESTIVAL | BUCHEON INTERNATIONAL FANTASTIC FILM FESTIVAL | FANTASIA INTERNATIONAL FILM FESTIVAL

Yoshihiro Nishimura is a Japanese film director, special effects and makeup effects artist. He is also a screenwriter who has worked predominantly in the horror genre.

119

GIDDENS KO

MON MON MON MONSTERS

(BAO GAO LAO SHI! GUAI GUAI GUAI GUAI WU!)

 MANDARIN

 TAIWAN

h 110’

G 2017

FICTION ASIA PREMIERE

DIRECTOR GIDDENS KO STORY/SCREENPLAY GIDDENS KO CINEMATOGRAPHER CHOU YI-HSIEN EDITOR LI NIEN-HSIU SOUND DESIGN TU DUU-CHIH, WU SHU-YAO

CAST DENG YU-KAI, KENT TSAI, EUGENIE LIU PRODUCERS ANGIE CHAI PRODUCTION COMPANY STAR RITZ INTERNATIONAL ENTERTAINMENT CO LTD

FESTIVALS AND AWARDS FILMOGRAPHY You Are The Apple Of My Eye (2011)

A film about school violence, hazing and bullying in a high school with the concept of ‘monster’ added into a mix. It’s an unimaginable tale of bullies capturing and torturing a monster with a former victim of bullying himself becoming a perpetrator. A great dilemma is upon him as the monster takes the place of a victim. Rather than bullying the monster to be accepted as a part of an in-crowd, he decides to stop, knowing how it feels, but doesn’t stop the bullies from torturing the monster. Because the essence of violence is a pitiful coexistence of perpetrators and bystanders.

NH AUDIENCE AWARD, BUCHEON INTERNATIONAL FANTASTIC FILM FESTIVAL | FANTASIA INTERNATIONAL FILM FESTIVAL | HONG KONG INTERNATIONAL FILM FESTIVAL

Giddens KO is an author and director. He writes on the internet as “Jiubadao” (“Nine Knives”). Some of his work has been adapted into films, plays, TV dramas and online games.

N ATA L I A S I W I C K A

16.03  POLISH, ENGLISH  POLAND h 17’ G 2016

A girl in a car is driving on the road and a lorry is following her. No matter what she does, the lorry just won’t stop shadowing her.

FICTION INDIA PREMIERE

Natalia Siwicka is a Lodz Film School graduate and has worked with some of Polish cinema’s most prominent directors.

THOMAS PERRETT

COMMUNE  ENGLISH  UNITED KINGDOM h 16’ 30” G 2016

FICTION ASIA PREMIERE

Thomas Perrett studied at Bournemouth University and his graduation film was a short called Hindsight (2001), which was nominated for a Royal Television Award. He has since gone on to become an editor and filmmaker.

CHRIS MCINROY

DEATH METAL  ENGLISH  USA h 5’ G 2016

A metalhead gets passed down a satanic guitar that riffs to shreds.

FICTION INDIA PREMIERE

Chris McInroy lives in Austin, Texas, and is currently working on a horror comedy about werewolves. 121

AFTER DARK

A man takes a job as the guard of a rundown London house, but soon realises that it’s not the building that needs protecting. A malevolent cult from the past resides within and they are hunting for new members.

G U STAVO SA N C H E Z

KEEP OUT OF CHILDREN’S REACH

(MANTÉNGASE FUERA DEL ALCANCE DE LOS NIÑOS)  SPANISH  VENEZUELA h 10’ G 2017

Sebastian is a seven-year-old with macabre intentions. Take pity on his suffering little sister Lelo.

FICTION INDIA PREMIERE

Gustavo Sanchez is a film producer and director from Venezuela, currently residing in USA.

G Y U N G -YO O N K I M

SPOILER ALERT (SEUPOJUUI)  KOREAN  SOUTH KOREA h 15’ 54” G 2017

A mysterious hand with a purple marker spoils Ju-yeon’s movie tickets and comic book. Now Ju-yeon wants to destroy it.

FICTION WORLD PREMIERE

Gyung-yoon Kim just graduated from the Korea National University of Arts and this is Gyung-yoon’s second film.

SOOYOUNG KIM

SUPERPOWER GIRL  KOREAN  SOUTH KOREA h 24’ 24” G 2017

Mina is at the top of her class while Juri is the opposite. One day, Mina can’t close her eyelids and Juri discovers hidden powers. World, you’re about to be shocked.

FICTION WORLD PREMIERE

Kim Sooyoung studied film at Korea National University of Arts. She has written and directed many shorts that have been screened and have won prizes at various film festivals.

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WORLD CINEMA T H E B E ST O F T H E B E ST F I L M S

F

or those who judge films by the awards they win, World Cinema is an intellectual pilgrimage of sorts and the section of the Mumbai Film Festival upon which thousands of hopes are pinned. As films make news internationally, Mumbai’s film lovers cross their fingers that fêted titles will make it to this festival. We do our best not to disappoint our fellow cinephiles, and we go a step further by including films that haven’t made headlines, but deserve attention. With some of the best from the international film festival circuit, this section is home to the works of filmmakers who are modern-day legends. World Cinema also contains experiments and new films by directors who are pushing boundaries. We’re delighted to include second films by those whose debuts impressed us (some of these titles have been part of other sections in the festival in past years). All these films fill us with a sense of wonder and remind us of the incredible potential of cinema. In times as turbulent and eventful as ours, if World Cinema simply offered a window to other parts of the globe, it would be enough. However, it is more than that. These films show you realities from parts of the world that are inaccessible, yes, but they also take you to places that exist only in a filmmaker’s imagination. They remind you of the facts that are being twisted, fill you with emotions that refuse to be pinned down. World Cinema beckons you to slip in and see the the world through another’s gaze. It challenges you and encourages you to tilt your head just a little and discover another angle. You don’t simply watch cinema; you experience it. And the titles in World Cinema are dazzling examples of just how enriching the experience of watching a film can be. A number of films this year explore how art — ranging from music to dance to painting and, of course, cinema — can influence the warp and weft of reality. As we are held thrall by the films that depict oppressive societies where humanity has withered, we give thanks for the flights of fantasy and the impossible artistic leaps that the imagination takes in others. And we give thanks to the filmmakers who find art in the real, and the real in their art.

A B BAS K I A R O STA M I

SEBASTIÁN LELIO

24 FRAMES

A FANTASTIC WOMAN

 ENGLISH  IRAN, FRANCE h 114’ G 2017

 SPANISH  CHILE h 103’ G 2017

(UNA MUJER FANTASTICA)

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Marina is a young waitress and aspiring singer in love with Orlando, a man 20 years older than her. One evening, Orlando falls seriously ill and passes away just after Marina rushes him to the emergency room. Instead of being able to mourn her lover, she is treated with suspicion and hostility by doctors, detectives, and even Orlando’s family. A trans woman who has spent a lifetime battling forces just to become the woman she now, Marina finds herself struggling for once again for the right to be herself – a complex, forthright and fantastic woman.

DIRECTOR ABBAS KIAROSTAMI

SOUND DESIGN ENSIEH MALEKI

STORY/ SCREENPLAY ABBAS KIAROSTAMI

PRODUCERS CHARLES GILLIBERT, AHMAD KIAROSTAMI

CINEMATOGRAPHER BENJAMÍN ECHAZARRETA

EDITOR MARK DRIVER

FESTIVALS AND AWARDS

PRODUCTION COMPANY CG CINÉMA, KIAROSTAMI FOUNDATION SALES COMPANY CG CINÉMA

CANNES FILM FESTIVAL | MELBOURNE INTERNATIONAL FILM FESTIVAL

Abbas Kiarostami was an award-winning filmmaker from Iran and among those who paved the way for generations of later filmmakers from the country. His film Taste of Cherry won the Palme d’Or in Cannes, in 1997. The Wind Will Carry Us (1999) won the Silver Lion at the Venice Film Festival.

FILMOGRAPHY: Close-Up (1990), Taste of Cherry (1997), The Wind Will Carry Us (1999), Five Dedicated to Ozu (2003), Certified Copy (2010), Like Someone In Love (2012)

DIRECTOR SEBASTIÁN LELIO

EDITOR SOLEDAD SALFATE

STORY/SCREENPLAY SEBASTIÁN LELIO GONZALO MAZA

SOUND DESIGN TINA LASCHKE CAST DANIELA VEGA, FRANCISCO REYES, LUIS GNECCO, ALINE KUPPENHEIM

FESTIVALS AND AWARDS

WORLD CINEMA

The last film Abbas Kiarostami completed before his untimely death last year is a wordless, non-narrative film looking at paintings and photographs of nature from a fixed frame perspective. Each of the 24 works is stared at for four and a half minutes, building up to a conclusion that is both mischievous and melancholy. Occasionally an animated detail makes its presence felt discreetly. The first is a painting, perhaps a discreet hat tip to Kiarostami’s beginnings as an artist (he studied painting in university), and the last shows a sleeping woman with a Macbook that has an editing suite open. It’s a perfect, final farewell from a legendary filmmaker who loved to play with his audience and enjoyed blurring the lines between cinema and life.

PRODUCERS JUAN DE DIOS LARRAÍN PABLO LARRAÍN SEBASTIÁN LELIO GONZALO MAZA PRODUCTION COMPANY FABULA SALES AGENT FUNNY BALLOONS

BERLINALE | TIFF

Sebastián Lelio is a Chilean film director and screenwriter. His first feature film, La Sagrada Familia (2006) premiered at the San Sebastian Film Festival and received several awards and worldwide recognition. Navidad premiered in the 2009 Directors’ Fortnight section. El Ano Del Tigre was presented at the 2011 Locarno Film Festival. Lelio’s fourth feature film, the internationally acclaimed Gloria, obtained a Silver Bear for Best Actress at the 2013 Berlin Film Festival. Disobedience (2017), A Fantastic Woman (2017), II Gloria (2013), The Year of the Tiger (2011), Christmas (2009), The Sacred Family (2005)

127

SERGEI LOZNITSA

A GENTLE CREATURE

SA R I TA K H U R A N A , SMRITI MUNDHRA

(KROTKAYA)

A SUITABLE GIRL

 RUSSIAN  FRANCE, GERMANY, LITHUANIA, THE NETHERLANDS h 143’ G 2017

 ENGLISH, HINDI, KANNADA, MARATHI  INDIA, USA h 97’ G 2017

FICTION

DOCUMENTARY

INDIA PREMIERE

ASIA PREMIERE

A woman lives alone on the outskirts of a village in Russia. Her husband is in jail, convicted for a murder he insists he didn’t commit. One day, a parcel she had sent him is returned to her. Unable to get any information about her husband, she decides to go to the Siberian prison where he’s incarcerated. The journey is long and harrowing, but her trials take on their truly nightmarish shape when she reaches the prison town.

DIRECTOR SERGEI LOZNITSA

SOUND DESIGN VLADIMIR GOLAVNITSKI

STORY/SCREENPLAY SERGEI LOZNITSA

CAST VASILINA MAKOVTSEVA, MARINA KLESHCHEVA, LIA AKHEDZHAKOVA, VALERIU ANDRIUTA

CINEMATOGRAPHER OLEG MUTU EDITOR DANIELIUS KOKANAUSKI

PRODUCERS MARIANNE SLOT SALES AGENT WILD BUNCH

Ritu, Dipti and Amrita represent a new India. Educated, financially stable and raised with a mix of traditional and contemporary values in Mumbai and New Delhi, the three women have access to the world in ways their mothers did not. What they do have in common with the previous generation is the pressure to get married and to conform to an arranged marriage. Career aspirations become secondary to the pursuit of a husband, and the women struggle with the prospect of leaving their homes and families to become part of another. Documenting the arranged marriage and matchmaking process over four years, the film is a touching coming-of-age story and a portrait of India’s urban middle class.

DIRECTORS SARITA KHURANA, SMRITI MUNDHRA

EDITOR JENNIFER TIEXIERA MUSIC GINGGER SHANKAR, SAUL SIMON MACWILLIAMS

CINEMATOGRAPHER ANDRE DE ALENCAR LYON, NAITI GAMEZ

FESTIVALS AND AWARDS FESTIVALS AND AWARDS

PRODUCERS SMRITI MUNDHRA, JENNIFER TIEXIERA, SARITA KHURANA

TRIBECA FILM FESTIVAL

CANNES FILM FESTIVAL

Sergei Loznitsa is a Ukrainian director. He has directed 16 documentary films since 1996 and has received numerous international awards. His second fiction feature, In The Fog (2012) won the FIPRESCI Prize at the 2012 Cannes Film Festival.

FILMOGRAPHY: My Joy (2010), In The Fog (2012), Maidan (2014), Austerlitz (2016)

Sarita Khurana is a director, producer, and educator, based in New York. This is her feature-length documentary debut. Smriti Mundhra has been working in the film and television industry for over a decade. As a producer, she’s been involved in award-winning projects like Independent Spirit award-nominee, Bomb The System (2002). In 2009, she was given the Mira Nair Rising Female Filmmaker Award by the Harlem Film Festival.

MICHEL FRANCO

TIAN TSERING

(LAS HIJAS DE ABRIL)

BARLEY FIELDS ON THE OTHER SIDE OF THE MOUNTAIN

 SPANISH  MEXICO h 103’ G 2017

 TIBETAN  UK h 88’ G 2017

APRIL’S DAUGHTER

FICTION

FICTION

INDIA PREMIERE

WORLD PREMIERE

Sixteen-year-old Pema lives in the remote mountains of Tibet. When her father is taken away by the authorities, Pema’s world is shattered. She gets an opportunity to cross the Himalayas and go to India, but can Pema leave her family behind at this time of crisis? Shot entirely on location in the Himalayas with a cast of non-actors, the film is determined to give voice to the oppressed of Tibet.

DIRECTOR MICHEL FRANCO

DIRECTOR TIAN TSERING

SOUND DESIGN ANIA PRZYGODA

STORY/SCREENPLAY TIAN TSERING, BERU TESSEMA

CAST TSERING CHOEKYI, PEMA CHOKEY, SAMTEN DHONDUP, JAMYANG CHOEZOM

SOUND DESIGN ALEJANDRO DE ICAZA

STORY/SCREENPLAY MICHEL FRANCO

CAST EMMA SUÁREZ, ANA VALERIA BECERRIL, JOANNA LEREQUI, ENRIQUE ARIZZON

CINEMATOGRAPHER YVES CAPE EDITOR JORGE WEISZ, MICHEL FRANCO

FESTIVALS AND AWARDS

PRODUCERS MICHEL FRANCO, LORENZO VIGAS, MOISÉS ZONANA PRODUCTION COMPANY LUCIA FILMS SALES AGENT MK2 FILMS

CINEMATOGRAPHER JIGMET WANGCHUK EDITOR SOFIA BOST

WORLD CINEMA

Valeria is 17 and pregnant, but she doesn’t want her mother April to know. Her sister Clara goes behind Valeria’s back and informs April, who immediately shows up. There’s a strangely competitive edge to the relationship between the luminous April and her daughters. Once the baby is born, it becomes clear why Valeria had wanted to keep her mother as far away as possible.

PRODUCTION COMPANY TASHI FILMS LTD SALES AGENT VISIT FILMS

PRODUCERS TIAN TSERING, RAHUL RAVINDRAN

UN CERTAIN REGARD, CANNES FILM FESTIVAL

Michel Franco is a writer and producer. His body of work includes Chronic (2015), which won the award for Best Screenplay at Cannes Film Festival, and After Lucia (2012), which won Best Film in Cannes’s Un Certain Regard.

Tian Tsering is a cinematographer and filmmaker. Previously, he’s worked on short films. This film marks his directorial debut.

FILMOGRAPHY: Daniel and Ana (2009), After Lucia (2012), Chronic (2015)

129

ELIZA HITTMAN

TA K AS H I M I I K E

BEACH RATS

BLADE OF THE IMMORTAL

 ENGLISH  USA h 95’ G 2017

 JAPANESE  JAPANESE h 141’ G 2017

(MUGEN NO JÛNIN)

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Frankie, an aimless teenager on the outer edges of Brooklyn, is having a miserable summer. His father is on the brink of dying, his mother wants him to find a girlfriend, his kid sister is annoying. Frankie escapes by causing trouble with his delinquent friends and flirting with older men online. As his chatting and webcamming intensify, Frankie simultaneously enters into a cautious relationship with a young woman. Inevitably, Frankie’s struggle to reconcile his competing desires lead to irreparable consequences.

DIRECTOR ELIZA HITTMAN

SOUND DESIGN CHRIS FOSTER

PAUL MEZEY, ANDREW GOLDMAN

STORY/ SCREENPLAY ELIZA HITTMAN CINEMATOGRAPHER HÉLÈNE LOUVART

CAST HARRIS DICKINSON, MADELINE WEINSTEIN, KATE HODGE

PRODUCTION COMPANY CINEREACH, ANIMAL KINGDOM, SECRET ENGINE

EDITOR SCOTT CUMMINGS, JOE MURPHY

PRODUCERS DREW HOUPT, BRAD BECKER-PARTON,

SALES AGENT MONGREL MEDIA

FESTIVALS AND AWARDS

DIRECTING AWARD: DRAMATIC, SUNDANCE FILM FESTIVAL | NEW DIRECTORS, NEW FILMS | LOCARNO INTERNATIONAL FILM FESTIVAL

Eliza Hittman is an award-winning filmmaker from Brooklyn. Her debut feature film, It Felt Like Love (2013), was a New York Times critics’ pick and was nominated for two Film Independent Spirit Awards.

FILMOGRAPHY: It Felt Like Love (2013), Beach Rats (2017)

Based on a manga series by Hiroaki Samura, the film’s protagonist is a samurai who has the ability to heal himself after a crone empties “sacred bloodworms” into a lethal wound of his. Fifty years later, the samurai is approached by a young woman who wants to avenge the murder of her parents. For those familiar with Takashi Miike’s oeuvre, it will come as no surprise that there are many duels, along with gore, a little humour, some sadism and countless dead swordsmen as this duo embarks on their journey.

DIRECTOR TAKASHI MIIKE STORY/SCREENPLAY TETSUYA OISHI CINEMATOGRAPHER NOBUYASU KITA EDITOR KENJI YAMASHITA

FESTIVALS AND AWARDS

CAST TAKUYA KIMURA, HANA SUGISAKI, SOTA FUKUSHI, EBIZO ICHIKAWA

PRODUCTION COMPANY WARNER BROS JAPAN, RECORDED PICTURE COMPANY

PRODUCERS SHIGEJI MAEDA, MISAKO SAKA, JEREMY THOMAS

SALES AGENT THE FESTIVAL AGENCY

AUDIENCE AWARD, FANTASIA FILM FESTIVAL | CANNES FILM FESTIVAL

Takashi Miike is considered a genre master. Although most famous for works that are full of violent, over-the-top, graphic imagery, this prolific filmmaker has made films in a variety of genres. He’s won the Palme d’Or twice, for Wara No Tate (2013) and Ichimei (2011). This is his 100th film.

FILMOGRAPHY: Rainy Dog (1997), The Bird People Of China (1998), HaraKiri: Death of a Samurai (2011)

DAVE MCCARY

MIKE OTT

BRIGSBY BEAR

CALIFORNIA DREAMS

 ENGLISH  USA h 97’ G 2017

 ENGLISH  USA h 83’ G 2017

FICTION

DOCUMENTARY

INDIA PREMIERE

ASIA PREMIERE

DIRECTOR DAVE MCCARY

CAST KYLE MOONEY, BECK BENNETT, CLAIRE DANES, MARK HAMILL

STORY/SCREENPLAY KEVIN COSTELLO, KYLE MOONEY

PRODUCERS ANDY SAMBERG, JORMA TACCONE, AKIVA SCHAFFER, BILLY ROSENBERG, PHIL LORD, CHRISTOPHER

CINEMATOGRAPHER CHRISTIAN SPRENGER EDITOR JACOB CRAYCROFT

FESTIVALS AND AWARDS

MILLER, WILL ALLEGRA, MARK ROBERTS, ALI DI INDIA DISTRIBUTOR SONY PICTURES ENTERTAINMENT

Cory, Patrick, Neil, Carolan and Kevin have one thing in common: all of them dream of making it in Hollywood as actors but none of them have made it. Through auditions that were set up in small towns across Southern California, the film explores the hypnotic charm that Hollywood exerts over its audiences. Although largely non-fiction, there are some fictional twists. Cory, for instance, has acted in the director’s previous works. Bitingly funny in parts, this film offers a look into the la la land that these aspiring actors inhabit and provokes conversations about a film’s responsibility towards its subjects.

DIRECTOR MIKE OTT

SOUND DESIGN JAN BEZOUSKA

STORY MIKE OTT

CAST NEIL HARLEY, PATRICK LLAGUNO, CAROLAN PINTO, KEVIN GILGER, CORY ZACHARIA

CINEMATOGRAPHER MIKE GIOULAKIS EDITOR GERALD D. ROSSINI

SUNDANCE FILM FESTIVAL | CANNES CRITICS’ WEEK FESTIVALS AND AWARDS

Dave McCary is an Emmy-nominated writer and director at Saturday Night Live and the co-founder of the sketch comedy group, Good Neighbor. This is his first film.

WORLD CINEMA

To say James’s parents are over-protective is an understatement. In their underground home, the one connection James has to the outside world is a children’s television show called ‘Brigsby Bear’. One night, James’ life is upended when he realises his parents aren’t who he thought they were. While adjusting to his new life, Brigsby Bear remains James’s security blanket. When James decides he’s going to make a Brigsby Bear movie, all the moving parts of his old and new lives collide in unexpected ways.

PRODUCERS HEIKA BURNISON, NICOLE ARBUSTO, ALEX GIOULAKIS PRODUCTION COMPANY NUMBER 7 FILMS SALES COMPANY THE FILM SALES COMPANY

AUDIENCE AWARD, SARASOTA FILM FESTIVAL| BERLINALE CRITICS’ WEEK | SXSW | DOCVILLE BELGIUM | SAN FRANCISCO INDEPENDENT FILM FESTIVAL

Mike Ott is a writer and director. His films have won numerous awards and have been screened at over 100 festivals, including Berlinale, International Film Festival Rotterdam and Tribeca.

FILMOGRAPHY: Analog Days (2006), Littlerock (2010), Pearlblossom Hwy (2012), Lake Los Angeles (2014), Actor Martinez (2016)

131

LUCA GUADAGNINO

CALL ME BY YOUR NAME  ENGLISH, ITALIAN, FRENCH, GERMAN  USA, ITALY, FRANCE, BRAZIL h 132’ G 2016

V E R E N A PA R AV E L , L U C I E N C A S TA I N G -TAY L O R

CANIBA

 JAPANESE  FRANCE h 90’ G 2017

FICTION

DOCUMENTARY

INDIA PREMIERE

INDIA PREMIERE

It’s the summer of 1983 in the north of Italy, and Elio Perlman, a precocious 17-year-old whiles his days away. He enjoys a close relationship with his father who is an eminent professor. One day, Oliver, a charming American scholar, arrives as Elio’s father’s annual summer intern and Elio’s life is about to change forever. Call Me By Your Name closes a trilogy of films on desire, together with I Am Love and A Bigger Splash.

DIRECTOR LUCA GUADAGNINO

CAST ARMIE HAMMER, TIMOTHÉE CHALAMET, MICHAEL STUHLBARG, AMIRA CASAR, ESTHER GARREL

STORY/SCREENPLAY JAMES IVORY CINEMATOGRAPHER SAYOMBHU MUKDEEPROM

PRODUCERS PETER SPEARS, LUCA GUADAGNINO, EMILIE GEORGES, RODRIGO TEIXERA, MARCO MORABITO, JAMES IVORY, HOWARD ROSENMAN

EDITOR WALTER FASANO SOUND DESIGN JEAN PIERRE LAFORCE

FESTIVALS AND AWARDS

PRODUCTION COMPANY FRENESY FILM, LA CINEFACTURE, WATER’S END PRODUCTIONS INDIA DISTRIBUTOR SONY PICTURES ENTERTAINMENT INDIA

SUNDANCE FILM FESTIVAL | BERLINALE | TORONTO INTERNATIONAL FILM FESTIVAL

Luca Guadagnino is an award-winning director, screenwriter, producer, and artistic entrepreneur. He came into international renown for his critically-acclaimed film, I Am Love (2009). His A Bigger Splash (2015) premiered in competition at Venice International Film Festival.

FILMOGRAPHY: I Am Love (2009), Bertolucci On Bertolucci (2013), A Bigger Splash (2015)

In 1981, a 32-year old student at the Sorbonne in Paris named Issei Sagawa was arrested for killing a classmate. After killing her, Sagawa raped and then ate his way through her corpse. Eventually, he tried to discard her remains and was caught emptying two bloody suitcases in a lake. Declared legally insane, Sagawa returned to Japan and has been a free man since. Though ostracised, he has lived off his crime, recounting it on and for various media — all the while craving the taste of human flesh and hoping to die at the hands (and in the mouth) of a fellow cannibal.

DIRECTOR VERENA PARAVEL, LUCIEN CASTAINGTAYLOR

EDITOR VERENA PARAVEL, LUCIEN CASTAINGTAYLOR

CINEMATOGRAPHER VERENA PARAVEL, LUCIEN CASTAINGTAYLOR

SOUND DESIGN BRUNO EHLINGER PRODUCERS VALENTINA NOVATI, VERENA PARAVEL,

FESTIVALS AND AWARDS

LUCIEN CASTAINGTAYLOR PRODUCTION COMPANY NORTE PRODUCTIONS, SEL SALES AGENT ELLE DRIVER

SPECIAL ORIZZONTI JURY PRIZE, VENICE INTERNATIONAL FILM FESTIVAL | TORONTO INTERNATIONAL FILM FESTIVAL

Verena Paravel studied Anthropology at the École Nationale Supérieure des Mines in Paris and at the University of Toulouse. Since 2008, she has worked with Lucien Castaing-Taylor at the Sensory Ethnography Lab at Harvard. Lucien Castaing-Taylor is a filmmaker, anthropologist, and ethnographer who works as a professor of Visual Arts and Anthropology at Harvard University, where he is also the director of the Sensory Ethnography Lab.

A K TA N A RY M K U BAT

CAT H E R I N E G U N D, DA R E S H A K Y I

 KYRGYZ  KYRGYZSTAN, FRANCE, GERMANY, NETHERLANDS h 89’ G 2016

 SPANISH, ENGLISH  USA h 93’ G 2017

CENTAUR

CHAVELA

FICTION

DOCUMENTARY

INDIA PREMIERE

INDIA PREMIERE

DIRECTOR AKTAN ARYM KUBAT

MUSIC ANDRE MATTHIAS

STORY/SCREENPLAY AKTAN ARYM KUBAT, ERNEST ABDYJAPAROV

CAST AKTAN ARYM KUBAT, NURALY TURSUNKOJOEV, ZAREMA ASANALIEVA, TAALAIKAN ABAZOVA

CINEMATOGRAPHER KHASSAN KYDYRALIEV EDITOR PETAR MARKOVIC

PRODUCERS ALTYNAI KOICHUMANOVA,

FESTIVALS AND AWARDS

CEDOMIR KOLAR, THANASSIS KARATHANOS, MARC BASCHET, DENIS VASLIN PRODUCTION COMPANY OY ART, ASAP FILMS, PALLAS FILM, VOLYA FILMS SALES AGENT THE MATCH FACTORY

BERLINALE

Aktan Arym Kubat graduated from the Art Academy in Bishkek, Kyrgyzstan. His second feature film, The Swing (1993), won the Golden Leopard at the Locarno Film Festival. In 1998, he won the Silver Leopard at Locarno for The Adopted Son (1998). He is best known for The Light Thief (2010), which won numerous awards and was screened at many prestigious international film festivals.

FILMOGRAPHY: Where Is Your House, Snail? (1992), The Swing (1993), The Adopted Son (1998), The Chimp (2001), Mother’s Paradise (2009), The Light Thief (2010)

If you’ve seen Pedro Almodovar’s films, you’ve heard Chavela Vargas. Chavela came to Mexico as a runaway teenager and would become a legend after being discovered by songwriter Jose Alfredo Jimenez. Adding to her persona were the scandals and her love for tequila. Chavela’s list of lovers allegedly include Frida Kahlo and Ava Gardner, whom she apparently whisked away to bed during Elizabeth Taylor’s wedding to Mike Todd. She was out and proud as a lesbian long before there was acceptance or even a vocabulary to speak of such things. Using archival footage, photographs and interviews with those who knew her, Chavela returns to life and song on screen.

DIRECTOR CATHERINE GUND, DARESHA KYI

EDITOR CARLA GUTIERREZ

CINEMATOGRAPHER CATHERINE GUND, NATALIA CUEVAS, PAULA GUTIÉRREZ ORÍO

FESTIVALS AND AWARDS

WORLD CINEMA

Centaur is a modest family man. His wife is the deafmute Maripa and they have a little son. They live in a small village, but there is something that sets Centaur apart. He believes the now-fragmented Kyrgyz people were once united and invincible, thanks to their horses. Because they misused this power to achieve mercenary goals, the Heavens have punished the Kyrgyz. To set right this wrong, Centaur becomes a horse thief because he believes only a genuine racer riding at night and praying for forgiveness can write off the curse.

LAURA PILLONI

MUSIC GIL TALMI

PRODUCTION COMPANY AUBIN PICTURES

PRODUCERS LAURA TATHAM,

SALES AGENT LATIDO FILMS

BERLINALE | HOT DOCS | AFI DOCS FESTIVAL | SARAJEVO FILM FESTIVAL

Catherine Gund is an Emmy-nominated producer, director, writer, and activist. Her media work focuses on strategic and sustainable social transformation, arts and culture, HIV/AIDS and reproductive health, and the environment. Daresha Kyi is an award-winning filmmaker and television producer with over 25 years in the business. 133

M AT T H E W H E I N E M A N

HONG SANGSOO

CITY OF GHOSTS

CLAIRE’S CAMERA

 ARABIC  USA h 90’ G 2017

 KOREAN, FRENCH  SOUTH KOREA h 101’ G 2017

(KEUL-LE-EO-UI-KA-ME-LA)

DOCUMENTARY

FICTION

INDIA PREMIERE

INDIA PREMIERE

In 2014, the Syrian city of Raqqa was taken over by the Islamic State and the atrocities began against its residents. A group of activists started a website called ‘Raqqa is Being Slaughtered Silently’, hoping that awareness would bring relief. This is the story of a brave group of citizen journalists as they face the realities of life undercover, being on the run, and in exile, risking everything to stand up against one of the greatest evils in the world today.

At the Cannes Film Festival, Manhee, a young film sales agent, is fired by her boss. She has a chance meeting with Claire, a tourist roaming around Cannes, armed with a Polaroid camera that has the power to change lives. “If I take a photo of you, you are not the same person anymore,” Claire says. Perhaps art really can make a difference to real life?

DIRECTOR MATTHEW HEINEMAN

SOUND DESIGN TOM PAUL

DIRECTOR HONG SANGSOO

CINEMATOGRAPHER MATTHEW HEINEMAN

PRODUCERS MATTHEW HEINEMAN

STORY/ SCREENPLAY HONG SANGSOO

EDITOR MATTHEW HAMACHEK, PAX WASSERMAN, MATTHEW HEINEMAN

PRODUCTION COMPANY A&E INDIEFILM

CINEMATOGRAPHER LEE JINKEUN

FESTIVALS AND AWARDS

SALES AGENT DOGWOOF

CAST ISABELLE HUPPERT, KIM MINHEE, CHANG MIHEE PRODUCER HONG SANGSOO

PRODUCTION COMPANY JEOWONSA FILM CO SALES AGENT FINECUT

EDITOR HAHM SUNGWON

FESTIVALS AND AWARDS

CANNES FILM FESTIVAL

SUNDANCE FILM FESTIVAL

Matthew Heineman is an Oscarnominated and Emmy-winning filmmaker. His last film was the widely-appreciated and award-winning Cartel Land (2015).

FILMOGRAPHY: Our Time (2009), Escape Fire: The Fight To Rescue American Healthcare (2012), Cartel Land (2015)

Hong Sangsoo made his debut with The Day A Pig Fell Into The Well and has over the past two decades become renowned as one of world cinema’s finest auteurs. Often likened to Eric Rohmer and Woody Allen, Hong’s films linger upon everyday occurrences, finding insight and complexity in the seemingly mundane.

FILMOGRAPHY: The Day A Pig Fell Into The Well (1996), Virgin Stripped Bare By Her Bachelors (2000), Hahaha (2010), Our Sunhi (2013), Right Now, Wrong Then (2015)

EVERARDO GONZALEZ

DEVIL’S FREEDOM

DAN SICKLES, ANTONIO SANTINI

DINA

(LA LIBERTAD DEL DIABLO)

 WITH SPANISH DIALOGUE  MEXICO h 74’ G 2017

 ENGLISH  USA h 101’ G 2017

DOCUMENTARY

DOCUMENTARY

INDIA PREMIERE

INDIA PREMIERE

DIRECTOR EVERARDO GONZALEZ

EDITOR PALOMA LOPEZ CARRILLO

STORY/ SCREENPLAY EVERARDO GONZALEZ, DIEGO OSORNO

PRODUCERS ROBERTO GARZA, INNA PAYAN

CINEMATOGRAPHER MARIA SECCO

PRODUCTION COMPANY ANIMAL DE LUZ FILMS, ARTEGIOS SALES AGENT FILMS BOUTIQUE

Dina and Scott are both on the autism spectrum and they’re going to get married. There’s just a little problem. Dina is a romantic, in spite of being (literally) scarred by past relationships, and she longs for a sexual partner. However, physical intimacy seems to terrify Scott. Taking charge, Dina decides to gently push Scott out of his comfort zone and towards her. Exposing anxieties, insecurities, and communication snafus, the couple strives to reconcile their conflicting approaches to romance and intimacy. DIRECTOR DAN SICKLES, ANTONIO SANTINI

CAST DINO BUNO, SCOTT LEVIN

PRODUCTION COMPANY EL PELIGRO

CINEMATOGRAPHER ADAM UHL

PRODUCERS DAN SICKLES, ANTONIO SANTINI

SALES AGENT DOGWOOF

EDITOR SOFÍA SUBERCASEAUX

FESTIVALS AND AWARDS

FESTIVALS AND AWARDS

BERLINALE

Everardo Gonzalez has emerged as one of the strongest voices in the documentary genre in Latin America.

FILMOGRAPHY: The Song of Pulque (2003), Drought (2011), El Paso (2015)

WORLD CINEMA

In Mexico, as cartels thrive and grow ever more ruthless, violence has sunk its claws deep into society. Through firsthand testimonies of victims as well as perpetrators, this documentary explores the effects of surviving the violence. Everyone who appears is hidden behind a mask, which safeguards their identity while simultaneously taking away any opportunity for the audience to relate at a more intimate level. What emerges is a portrait of a brutal humanity, its features erased and misshapen into the flat horror of a fleshcoloured mask.

GRAND JURY PRIZE, US DOCUMENTARY, SUNDANCE FILM FESTIVAL

Dan Sickles and Antonio Santini together run El Peligro LLC, their production company in New York. Their first film, Mala Mala, won an Audience Award at the 2014 Tribeca Film Festival. The directing duo was honoured in 2015 by Out magazine’s list of 100 influential people and was recently nominated for a GLAAD Media Award in the outstanding documentary category.

FILMOGRAPHY: Mala Mala (2014), Dina (2017)

135

GENG JUN

JOSH SAFDIE, BENNY SAFDIE

 MANDARIN  HONG KONG h 97 G 2016

 ENGLISH  USA h 100’ G 2017

FREE AND EASY

GOOD TIME

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

A crook visits a gloomy, snowbound town in northeast China, bringing with him ‘magic soap’ that he uses to incapacitate the unaware so that he can rob them. Also in the same town are the following: a Christian in search of his missing mother, a Buddhist monk who’s selling overpriced talismans, a forest ranger in pursuit of a thief, and two police officers. In the middle of all this, a murder takes place. Free and Easy is a farce that presents a world in which crime is the new normal.

DIRECTOR GENG JUN STORY/SCREENPLAY LIU BING, FENG YU HUA, GENG JUN CINEMATOGRAPHER WANG WEIHUA

EDITOR GUO XIAODONG, ZHONG YIJUAN

PRODUCERS WANG ZIJIAN, WANG XUEBO

SOUND DESIGN DU CHUNFENG

PRODUCTION COMPANY BLACKFIN MEDIA

CAST XU GANG, ZHANG ZHIYONG, XUE BAOHE, WANG XUXU

FESTIVALS AND AWARDS

SALES AGENT STRAY DOGS

SUNDANCE FILM FESTIVAL | KARLOVY VARY INTERNATIONAL FILM FESTIVAL | MELBOURNE INTERNATIONAL FILM FESTIVAL

Geng Jun has directed and written many films, which have been shown extensively at international film festivals. He is best known for Youth (2009) and The Hammer and Sickle are Sleeping (2013).

FILMOGRAPHY: Hawthorn (2002), Youth (2009), The Hammer And Sickle Are Sleeping (2013)

After a botched bank robbery lands his younger brother in prison, Constantine ‘Connie’ Nikas embarks on a twisted odyssey through New York City in an increasingly desperate — and dangerous — attempt to get his brother out of jail. Connie is an egomaniac, inclined towards violence, reeking of a heady bravado, and yet he’s got that charm that will persuade you into siding with him, no matter what he does.

DIRECTOR JOSH SAFDIE, BENNY SAFDIE

EDITOR BENNY SAFDIE, RONALD BRONSTEIN

STORY/SCREENPLAY JOSH SAFDIE, RONALD BRONSTEIN

CAST ROBERT PATTINSON, BENNY SAFDIE, JENNIFER JASON LEIGH, BUDDY DURESS, BARKHAD ABDI

CINEMATOGRAPHER SEAN PRICE WILLIAMS

FESTIVALS AND AWARDS

PRODUCERS OSCAR BOYSON, SEBASTIAN BEARMCCLARD INDIA DISTRIBUTOR PVR PICTURES

CANNES FILM FESTIVAL

Josh and Benny Safdie’s work has earned them multiple festival jury awards, FIPRESCIs, Independent Spirit and Gotham Awards. Their films have been released all over the world, premiering at international film festivals including Cannes, Venice, Toronto, Locarno, Sundance and SXSW. In 2014, they started Elara Pictures. FILMOGRAPHY: Lenny And The Kids (2009), John’s Gone (2010), The Black Balloon (2011), Heaven Knows What (2014)

JAVIER CALVO, JAVIER AMBROSSI

HOLY CAMP!

PA B LO G I O R G E L L I

INVISIBLE

(LA LLAMADA)

 SPANISH  SPAIN h 95’ G 2017

 SPANISH  ARGENTINA, BRAZIL, URUGUAY, FRANCE, GERMANY h 87’ G 2017

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Ely is 17, lives with her depressed mother and lives a dull, routine life revolving around home, school and a pet shop where she works for a few hours. When she discovers she’s pregnant, Ely’s first reaction is that she doesn’t want to have the child. However, abortions are illegal in Argentina. Examining the moral complexities surrounding abortions, the film follows Ely as she figures whether she really wants to abort this pregnancy or have a baby.

DIRECTOR JAVIER CALVO, JAVIER AMBROSSI

DIRECTOR PABLO GIORGELLI

MUSIC LEIVA CAST MACARENA GARCÍA, ANNA CASTILLO, BELÉN CUESTA, GRACIA OLAYO

STORY/SCREENPLAY JAVIER CALVO, JAVIER AMBROSSI CINEMATOGRAPHER MIGUE AMOEDO

PRODUCERS TONI CARRIZOSA, JOSÉ CORBACH, ENRIQUE LÓPEZ

EDITOR MARTA VELASCO

FESTIVALS AND AWARDS

LAVIGNE, KIKE MAÍLLO, JORGE JAVIER VÁZQUEZ PRODUCTION COMPANY APACHE FILMS, SÁBADO PELÍCULAS SALES AGENT FILM FACTORY

SAN SEBASTIAN INTERNATIONAL FILM FESTIVAL

Javier Calvo and Javier Ambrossi created and directed La Llamada, a musical that started as a small underground production in Madrid and has since gone on to become a massive success. This film is an adaptation of their theatrical production and is their directorial debut.

SOUND DESIGN EDSON SECCO, MARTÍN LITMANOVICH

STORY/SCREENPLAY PABLO GIORGELLI, MARÍA LAURA GARGARELLA

CAST MORA ARENILLAS, MARA BESTELLI, DIEGO CREMONESI, AGUSTINA FERNANDEZ

CINEMATOGRAPHER DIEGO POLERI EDITOR MARÍA ASTRAUSKAS

WORLD CINEMA

Maria and Susana are two rebellious teens who spend their summer in a camp run by nuns. They live there with Mother Superior Bernarda, an older nun looking to modernise the place, and Sister Milagros, a young nun who is filled with doubt. With music as their common denominator, teen rebellion and ecclesiastic order collide, creating a hymn to freedom and first love.

COMPANY AREA FINA, AIRECINE SALES AGENT FILM FACTORY

PRODUCTION

FESTIVALS AND AWARDS

VENICE INTERNATIONAL FILM FESTIVAL

Pablo Giorgelli made his directorial debut with Las Acacias (2011), which went on to win the Camera d’Or at the Cannes Film Festival. This is his second film.

FILMOGRAPHY: Las Acacias (2011)

137

TREY EDWARD SHULTS

R I C H A R D L I N K L AT E R

IT COMES AT NIGHT

LAST FLAG FLYING

 ENGLISH  USA h 95’ G 2017

 ENGLISH  USA h 124’ G 2017

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Travis, 17, grapples with mounting terrors — both external and internal — in the aftermath of an unnamed cataclysm. Secure within a desolate home with his vigilant and heavily-armed parents, he navigates fear, grief and paranoia amid scarce resources. When a desperate young couple seeks refuge, Travis’s father joins forces with them, but despite the best intentions of both families, panic and mistrust boil over. The horrors of the outside world creep ever closer, but they are nothing compared to the horrors within, as Travis discovers that his father’s commitment to protecting the family may cost him his soul.

DIRECTOR TREY EDWARD SHULTS

EDITOR MATTHEW HANNAM, TREY EDWARD SHULTS

STORY/SCREENPLAY TREY EDWARD SHULTS

CAST JOEL EDGERTON, CHRISTOPHER ABBOTT, CARMEN EJOGO, RILEY KEOUGH

CINEMATOGRAPHER DREW DANILES

PRODUCERS DAVID KAPLAN, ANDREA ROA PRODUCTION COMPANY A24 SALES AGENT A24

Three aging Vietnam-era Navy vets — soft-spoken Doc, unhinged and unfiltered Sal, and quietly-measured Mueller — reunite to give Doc’s only child, who has been killed in the early days of the Iraq invasion, a proper burial. As this trio of old friends makes its way, Richard Linklater presents a rich rendering of friendship, a grand mosaic of common life in the USA during the Bush era, and a striking meditation on the passage of time and the nature of truth.

DIRECTOR RICHARD LINKLATER

SOUND DESIGN JUSTIN HENNARD

SALES AGENT FILM NATION

STORY/SCREENPLAY RICHARD LINKLATER, DARRYL PONICSAN

CAST STEVE CARELL, BRYAN CRANSTON, LAURENCE FISHBURNE

INDIA DISTRIBUTOR AMAZON STUDIOS

CINEMATOGRAPHER SHANE F KELLY

PRODUCERS JOHN SLOSS, GINGER SLEDGE, RICHARD LINKLATER

EDITOR SANDRA ADAIR

FESTIVALS AND AWARDS FESTIVALS AND AWARDS

OVERLOOK FILM FESTIVAL | CHAMPS ÉLYSÉES FILM FESTIVAL

Trey Edward Shults is a writer and director. He made his feature film debut with the award-winning Krisha (2015).

NEW YORK FILM FESTIVAL

Richard Linklater is an award-winning filmmaker and screenwriter. His films are often formally innovative and reinvent popular genres, like Before Sunrise (1995) did with the rom-com or Boyhood (2014) did with the coming-of-age movie.

FILMOGRAPHY: The Newton Boys (1998), Before Sunrise (1995), Before Sunset (2004), Before Midnight (2013), Boyhood (2014) FILMOGRAPHY: Krisha (2015)

MITU MISRA

A N D R E Y Z V YAG I N TS E V

LIES WE TELL  ENGLISH  UK h 109’ G 2017

LOVELESS (NELYUBOV)

 RUSSIAN  RUSSIA, FRANCE, BELGIUM, GERMANY h 127’ G 2017

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

DIRECTOR MITU MISRA

CAST GABRIEL BYRNE, SIBYLLA DEEN, MARK ADDY, JAN UDDIN, HARVEY KEITEL

STORY/SCREENPLAY EWEN GLASS, ANDY MCDERMOTT

PRODUCTION COMPANY BRADFORD INTERNATIONAL FILM ASSOCIATES LTD

PRODUCERS ANDY MCDERMOTT, DANIEL GULLIVER, MALCOLM SCOTT

CINEMATOGRAPHER SANTOSH SIVAN EDITOR CHRIS GILL

Boris and Zhenya’s marriage is ending. Both are impatient to begin their new lives with new partners. The only question is their son Alyosha’s custody. Neither parent wants him and one day, Alyosha disappears. The police say they don’t have the resources to find Alyosha so Boris and Zhenya turn to a volunteer group, which quickly organises a search. Meanwhile, calls come in from morgues, reporting boys who match Alyosha’s description. Through Boris and Zhenya’s broken relationships, a portrait emerges of modern Russia and a society mutated by technology, abuse and lovelessness.

DIRECTOR ANDREY ZVYAGINTSEV

SOUND DESIGN ANDREY DERGACHEV

STORY/ SCREENPLAY OLEG NEGIN, ANDREY ZVYAGINTSEV

CAST MARYANA SPIVAK, ALEXEY ROZIN, MATVEY NOVIKOV, MARINA VASILYEVA,

CINEMATOGRAPHER MIKHAIL KRICHMAN

PRODUCERS ALEXANDRE RODNYANSKY, SERGUEY MELKUMOV

EDITOR ANNA MASS

FESTIVALS AND AWARDS

WORLD CINEMA

When Donald’s billionaire boss dies, Donald as his trusted driver is left with the task of discreetly dealing with the dead man’s Muslim mistress, Amber. Circumstances lead to Amber and Donald becoming unlikely allies. Donald realises there’s a lot more to Amber than sexy videos and adulterous billionaires. As their friendship grows, Amber discovers there’s a man from her past who is threatening both her family as well as her dreams of beginning a new life.

PRODUCTION COMPANIES NON-STOP PRODUCTIONS, WHY NOT PRODUCTIONS, ARTE FRANCE CINEMA, LES FILMS DU FLEUVE, FETISOFF ILLUSION INDIA DISTRIBUTOR IN2 INFOTAINMENT

RAINDANCE FILM FESTIVAL FESTIVALS AND AWARDS

Mitu Misra was inspired to write this film after he saw his own circle changing after the terror attack of 9/11. This is his first screenplay as well as his first film.

CANNES FILM FESTIVAL

Andrey Zvyagintsev began his career in theatre and debuted as a film director with The Return (2003), which won the Golden Lion at the Venice International Film Festival. His last film Leviathan (2014) won a Golden Globe award and was nominated for the Oscar for Best Foreign Film.

FILMOGRAPHY: The Return (2003), The Banishment (2007), Elena (2011), Leviathan (2014)

139

DANIEL BORGMAN

LOVING PIA (AT ELSKE PIA)

 DANISH  DENMARK h 100’ G 2017

D O R O TA K O B I E L A , H U G H W E L C H M A N

LOVING VINCENT  ENGLISH  UK, POLAND h 95’ G 2016

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Pia Skovgaard is a 60-year-old woman who is intellectually disabled and lives with her 84-year-old mother, Guittou. She takes care of her mother, talks to geese and goes on long walks. Pia’s fear is of being left alone when her mother dies and she decides that she needs to find a man to love in order to survive. She meets Jens and as they embark on a simple relationship, the one left alone is Pia’s mother. This feature has been developed from Pia Skovgaard’s real life.

The death of artist Vincent van Gogh turns into a murder mystery, plotted using his artworks. When Armand is asked by his father to deliver a letter to Theo van Gogh, he discovers Theo died soon after his brother, Vincent. Different people have different explanations of what happened, so Armand turns into a detective to figure out what really happened. The film is a labour of love by the directors who spent seven years making this film and creating the first oilpainted feature.

DIRECTOR DANIEL BORGMAN

DIRECTOR DOROTA KOBIELA, HUGH WELCHMAN

SOUND DESIGN ANNE GRY FRIIS KRISTENSEN, PHILIP NICOLAI FLINDT

CINEMATOGRAPHER DANIEL BORGMAN, CATHERINE PATTINAMA COLEMAN

CAST PIA SKOVGAARD, CÉLINE SKOVGAARD, JENS JENSEN, PUTTE JENSEN

EDITOR SOFIE MARIE KRISTENSEN, DANIEL BORGMAN

PRODUCTION COMPANY ADOMEIT FILM SALES AGENT PASCALE RAMONDA

PRODUCERS KATJA ADOMEIT

STORY/SCREENPLAY DOROTA KOBIELA, HUGH WELCHMAN, JACEK DEHNEL CINEMATOGRAPHER TRISTAN OLIVER, LUKASZ ZAL

FESTIVALS AND AWARDS FESTIVALS AND AWARDS

BERLINALE

Daniel Borgman studied film science in New Zealand and directing at the Danish alternative film school Super16. His short film Berik won the Grand Prix for the Best Short Film at Cannes Critics Week in 2010. Loving Pia is his second feature film.

FILMOGRAPHY: The Weight of Elephants (2013)

EDITOR JUSTYNA WIERSZYNSKA, DOROTA KOBIELA

PRODUCERS HUGH WELCHMAN, SEAN BOBBITT, IVAN MACTAGGART

CAST DOUGLAS BOOTH, ROBERT GULACZYK, ELEANOR TOMLINSON, JEROME FLYNN, SAOIRSE RONAN

PRODUCTION COMPANY BREAKTHRU FILMS INDIA DISTRIBUTOR MVP ENTERTAINMENT

ANNECY INTERNATIONAL ANIMATION FESTIVAL

Dorota Kobiela’s short, Little Postman (2011) was the world’s first, (and to her knowledge only) stereoscopic painting animation film. Loving Vincent started off as a short that she’d directed. Hugh Welchman is a producer and writer. After falling in love with Polish painter and director, Dorota Kobiela, Hugh also fell in love with her film project, Loving Vincent, and has been working with her on it ever since.

JULIAN ROSEFELDT

MANIFESTO

M O U LY S U RYA

MARLINA THE MURDERER IN FOUR ACTS (MARLINA SI PEMBUNUH DALAM EMPAT BABAK)

 ENGLISH  GERMANY h 95’ G 2017

 INDONESIAN, SUMBA DIALECT  INDONESIA, FRANCE, MALAYSIA, THAILAND h 95’ G 2017

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Two-time Oscar winner Cate Blanchett performs 13 distinct, must-see vignettes that incorporate timeless manifestos from 20th century art movements. From anchorwoman to homeless man, from Pop Art to Dogma 95, the chameleonic Blanchett gives a tour de force performance as she transforms herself like never before. Rosefeldt weaves together history’s most impassioned artistic statements in this stunning and contemporary call to action.

EDITOR BOBBY GOOD

STORY/SCREENPLAY JULIAN ROSEFELDT

CAST CATE BLANCHETT

CINEMATOGRAPHER CHRISTOPH KRAUSS

PRODUCER JULIAN ROSEFELDT

FESTIVALS AND AWARDS

SALES AGENT THE MATCH FACTORY

SUNDANCE FILM FESTIVAL | TRIBECA FILM FESTIVAL | INTERNATIONAL FILM FESTIVAL ROTTERDAM

Julian Rosefeldt is a visual artist who works extensively with film, often using multi-channel projections to create elaborate installations. His work is included in prestigious collections and he has exhibited extensively at museums worldwide.

DIRECTOR MOULY SURYA

SOUND DESIGN KHIKMAWAN SANTOSA

STORY/ SCREENPLAY MOULY SURYA, RAMA ADI

CAST MARSHA TIMOTHY, DEA PANENDRA

CINEMATOGRAPHER YUNUS PASOLANG

PRODUCERS RAMA ADI, FAUZAN ZIDNI

EDITOR KELVIN NUGROHO

WORLD CINEMA

DIRECTOR JULIAN ROSEFELDT

A young widow named Marlina is attacked and robbed for her cattle, with her mummified husband as witness. However, Marlina doesn’t accept the role of victim and kills a number of her attackers. She decides to turn herself in and as she makes her way to the police station, she is joined by her friend Novi and the ghost of her now-headless victim. Divided into four acts — The Robbery, The Journey, The Confession, The Birth — the film follows Marlina on her journey of empowerment and redemption.

COMPANY CINESURYA, KANINGA PICTURES, SHASHA & CO PRODUCTION, ASTRO SHAW, HOOQ, PURIN PICTURES SALES AGENT ASIAN SHADOWS

PRODUCTION

FESTIVALS AND AWARDS

CANNES DIRECTORS’ FORTNIGHT | VALLETTA FILM FESTIVAL | NEUCHATEL INTERNATIONAL FANTASTIC FILM FESTIVAL

Mouly Surya is one of Indonesia’s most promising young directors. She studied film and television at Bond University, Queensland. Marlina is her third film and was part of this year’s Cannes Directors’ Fortnight.

FILMOGRAPHY: Fiction (2008), What They Don’t Talk About When They Talk About Love (2013)

141

DARREN ARONOFSKY

RAINER SARNET

MOTHER!

NOVEMBER

 ENGLISH  USA h 120’ G 2017

 ESTONIAN, GERMAN  ESTONIA, HOLLAND, POLAND h 115’ G 2017

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Mother and Him, a mid-career writer, live a seemingly idyllic existence in a secluded paradise. He writes (or at least tries to) and she takes care of him. When a man and woman arrive at their home uninvited, all equanimity is destroyed. More and more guests arrive, and Mother is forced to revisit everything she knows about love, devotion and sacrifice. It’s a story about artistic vanity and the way one can be savaged by the crowd.

DIRECTOR DARREN ARONOFSKY STORY/SCREENPLAY DARREN ARONOFSKY CINEMATOGRAPHER MATTHEW LIBATIQUE EDITOR ANDREW WEISBLUM

FESTIVALS AND AWARDS

PRODUCTION DESIGN PHILIP MESSINA

PRODUCERS SCOTT FRANKLIN, ARI HANDEL

CAST JENNIFER LAWRENCE, JAVIER BARDEM, MICHELLE PFEIFFER, DOMHNALL GLEESON, ED HARRIS

PRODUCTION COMPANY PROTOZOA PICTURES INDIA DISTRIBUTOR VIACOM 18 MEDIA

VENICE INTERNATIONAL FILM FESTIVAL | TORONTO INTERNATIONAL FILM FESTIVAL

Darren Aronofsky was born in Brooklyn and studied live-action and animated film at Harvard University. His films often are riddled with the surreal and explore how one’s body can be used and transformed to express aspects of their self.

FILMOGRAPHY: Pi (1998), Requiem For A Dream (2000), The Fountain (2006), The Wrestler (2008), Black Swan (2010), Noah (2014)

Based on a novel by Andrus Kivirähk, this is a twisted fairy tale that reveals a darker, uglier side of humanity, with a smattering of weirdness and humour. In a pagan Estonian village where werewolves, the plague and mischievous spirits roam, a doomed love story unfolds. Lina loves Hans but has to marry a farmer she finds repulsive. Unfortunately, Hans is smitten by the newly-arrived German baroness. Both Hans and Lina decide to use magic and trickery to win their loves. Warning: contains werewolves.

DIRECTOR RAINER SARNET

EDITOR JAROSLAW KAMINSKI

STORY ANDRUS KIVIRÄHK

SOUND DESIGN MARCO VERMAAS

SCREENPLAY RAINER SARNET

CAST REA LEST, JÖRGEN LIIK, HEINO KALM, KATARIINA UNT

CINEMATOGRAPHER MART TANIEL

FESTIVALS AND AWARDS

PRODUCERS KATRIN KISSA, ELLEN HAVENITH, LUKASZ DZIECIOL PRODUCTION COMPANY HOMELESS BOB PRODUCTION SALES AGENT FILMS BOUTIQUE

BEST CINEMATOGRAPHY, TRIBECA FILM FESTIVAL | KARLOVY VARY INTERNATIONAL FILM FESTIVAL | SHANGHAI INTERNATIONAL FILM FESTIVAL

Rainer Sarnet has directed five films, lived with three women, accumulated about ten friends, passionately loved Fassbinder and directed theatre plays by Przybyszewski, Gorky, and Jelinek. He mostly writes his own scripts but usually bases them on literary classics.

FILMOGRAPHY: The Idiot (2011)

ILDIKO ENYEDI

ON BODY AND SOUL (TESTRÖL ÉS LÉLEKRÖL)

 HUNGARIAN  HUNGARY h 116’ G 2017

HONG SANGSOO

ON THE BEACH AT NIGHT ALONE (BAMUI HAEBYUN-EOSEO HONJA)  KOREAN  SOUTH KOREA h 101’ G 2017

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

How important is love in one’s life? Younghee, an actress, is in a relationship with a married filmmaker. In an effort to figure out both her heart and her head, she leaves everything behind and goes abroad. But whether abroad or back at home in Korea — where confessions, cruelty and soju (rice liquor) flow freely — resolutions take their own melancholic time to reveal themselves.

DIRECTOR ILDIKÓ ENYEDI

SOUND DESIGN PÉTER LUKÁCS

DIRECTOR HONG SANGSOO

EDITOR HAHM SUNGWON

STORY/ SCREENPLAY ILDIKÓ ENYEDI

CAST ALEXANDRA BORBÉLY, GÉZA MORCSÁNYI

STORY/ SCREENPLAY HONG SANGSOO

CAST KIM MINHEE, SEO YOUNGHWA, KWON HAEHYO

CINEMATOGRAPHER MÁTÉ HERBAI

PRODUCTION COMPANY INFORG – M&M FILM KFT SALES AGENT FILMS BOUTIQUE

PRODUCERS MÓNIKA MÉCS, ANDRÁS MUHI, ERNŐ MESTERHÁZY

EDITOR KÁROLY SZALAI

FESTIVALS AND AWARDS

GOLDEN BEAR, BERLINALE

CINEMATOGRAPHER KIM HYUNGKOO, PARK HONGYEOL

WORLD CINEMA

Endre and Maria work in the same abbatoir, but both are reclusive. They discover by chance that both of them have the same dream — a peaceful, snowblanketed forest in which the two of them appear as deer. At first, their nightly meetings in their dreams leave both Endre and Maria embarrassed. Can they ignore the intimacy they share so effortlessly in their dreams when they’re awake?

PRODUCTION COMPANY JEOWONSA FILM CO SALES AGENT FINECUT

PRODUCER HONG SANGSOO

FESTIVALS AND AWARDS

SILVER BEAR, BERLINALE | WORLD FICTION AWARD, LOS ANGELES FILM FESTIVAL

Ildiko Enyedi began her career as a concept and media artist. In 1989, she won the Camera d’Or at Cannes Film Festival for her debut feature film, My Twentieth Century. She won the Golden Bear at this year’s Berlin International Film Festival for On Body And Soul, her first film after an 18-year gap.

Hong Sangsoo made his debut with The Day A Pig Fell Into The Well and has over the past two decades become renowned as one of world cinema’s finest auteurs. Often likened to Eric Rohmer and Woody Allen, Hong’s films linger upon everyday occurrences, finding insight and complexity in the seemingly mundane.

FILMOGRAPHY: My Twentieth Century (1989), Tamas And Juli (1997), Simon Magus (1999)

FILMOGRAPHY: The Day A Pig Fell Into The Well (1996), Virgin Stripped Bare By Her Bachelors (2000), Hahaha (2010), Our Sunhi (2013), Right Now, Wrong Then (2015)

143

T U S I TA M AS E S E

GEREMY JASPER

ONE THOUSAND ROPES

PATTI CAKE$

 SAMOAN  NEW ZEALAND h 98’ G 2017

 ENGLISH  USA h 110’ G 2017

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Maea was once “The Lion”, a man who lived by his fists. Now, in an effort to distance himself from a history of violence, he’s a male midwife. He atones for his past by easing the pain of childbearing for young pregnant women, using traditional healing techniques that he won’t abandon for modern methods. When Maea’s daughter Ilisa comes to him, beaten and heavily pregnant, Maea must choose between continuing old traditions of violence or defying them to build a new family.

At first glance, Patricia Dombrowski isn’t a rap star, but she does have rhymes and she has dreams. Unfortunately, when you’re plus-size, with curly hair and bills to pay, the challenges of making your name in the music business feel impossible to conquer. Still, Patricia, aka Patti Cake$, has her friend Jheri, her grandmother and who knows? Maybe the reclusive goth-metal musician named Basterd is her ticket to hip hop super stardom.

DIRECTOR TUSI TAMASESE

SOUND DESIGN TOM SCOTT TOFT

DIRECTOR GEREMY JASPER

STORY/ SCREENPLAY TUSI TAMASESE

CAST UELESE PETAIA, FRANKIE ADAMS, VAELE SIMA

CINEMATOGRAPHER LEON NARBEY

PRODUCTION COMPANY BLUESKIN FILMS SALES AGENT MONGREL MEDIA

PRODUCERS CATHERINE FITZGERALD

EDITOR ANNIE COLLINS

FESTIVALS AND AWARDS

BERLINALE

Tusi Tamasese was born in Samoa and moved to New Zealand to attend university. His film O Le Tulafale (The Orator) received a special mention from the jury of the Orizzonti section of the Venice International Film Festival.

FILMOGRAPHY: O Le Tulafale (2011)

MUSIC GEREMY JASPER, JASON BINNICK

STORY/SCREENPLAY GEREMY JASPER

CAST DANIELLE MACDONALD, BRIDGET EVERETT, CATHY MORIARTY, SIDDHARTH DHANANJAY

CINEMATOGRAPHER FEDERICO CESCA EDITOR BRAD TURNER

FESTIVALS AND AWARDS

PRODUCERS MICHAEL GOTTWALD, NOAH STAHL, RODRIGO TEIXEIRA, DAN JANVEY, DANIELA TAPLIN LUNDBERG, CHRIS COLUMBUS INDIA DISTRIBUTOR FOX STAR INDIA

DIRECTORS’ FORTNIGHT, CANNES FILM FESTIVAL | SUNDANCE FILM FESTIVAL | SXSW FILM FESTIVAL

Geremy Jasper is a writer, director, and composer. This is his first full-length feature film and he also wrote the original songs for it.

J U L I A M U R AT

PENDULAR  PORTUGUESE  BRAZIL h 105’ G 2017

FA B I O G RASSA D O N I A , ANTONIO PIAZZA

SICILIAN GHOST STORY  ITALIAN  ITALY h 120’ G 2017

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

In a little Sicilian village at the edge of a forest, Giuseppe, a boy of 13, vanishes. Luna, his classmate who loves him, refuses to accept his mysterious disappearance. She rebels against the code of silence and collusion and to find him, Luna descends into the dark world that has swallowed him up. Inspired by the real-life kidnapping of a mafiosi’s son, the abduction story is revisited through the lens of fantasy.

DIRECTOR JULIA MURAT

COMPANY ESQUINA PRODOÇOES, BUBBLES PROJECT, SYNDROMES FILMS, CEPA AUDIOVISUAL, STILL MOVING

DIRECTOR FABIO GRASSADONIA, ANTONIO PIAZZA

EDITOR CRISTIANO TRAVAGLIOLI

FRANCESCA CIMA, CARLOTTA CALORI, MASSIMO CRISTALDI

STORY/SCREENPLAY FABIO GRASSADONIA, ANTONIO PIAZZA

SALES AGENT STILL MOVING

CINEMATOGRAPHER LUCA BIGAZZI

CAST JULIA JEDLIKOWSKA, GAETANO FERNANDEZ, ANDREA FALZONE

PRODUCTION COMPANY INDIGO FILM, CRISTALDI PICS

SOUND DESIGN DANIEL TURINI, FERNANDO HENNA

STORY/ SCREENPLAY JULIA MURAT, MATIAS MARIANI

CAST RAQUEL KARRO, RODRIGO BOLZAN

CINEMATOGRAPHER SOLEDAD RODRIGUES

PRODUCERS JULIA MURAT, TATIANA LEITE

EDITOR LIA KULAUKAUSKAS, MARINA MELIANDE

PRODUCERS NICOLA GIULIANO,

PRODUCTION

FESTIVALS AND AWARDS

BERLINALE

Julia Murat is an editor and filmmaker. She has made short films, experimental videos and video installations. Pendular is her second feature film.

FILMOGRAPHY: Found Memories (2011)

FESTIVALS AND AWARDS

WORLD CINEMA

He is a sculptor. She is a dancer. They live in an abandoned warehouse that they’ve divided into two. Partitioned by an orange strip that’s been glued to the floor, one half is his workshop while the other is her studio. Inspired by Marina Abramovic and Ulay’s performance piece ‘Rest Energy’, this film looks at how performance, art and reality mingle into one another.

SALES AGENT THE MATCH FACTORY

CRITICS’ WEEK, CANNES FILM FESTIVAL

Fabio Grassadonia and Antonio Piazza made their writing debut with the short film Rita (2010) and won the Grand Prix and Prix Révélation for their first feature film, Salvo (2013). They are also script consultants for major European institutions like the Berlinale Residency and Locarno Open Doors. FILMOGRAPHY: Salvo (2013)

145

JENNIFER REEDER

SIGNATURE MOVE  ENGLISH, URDU, SPANISH  USA h 82’ G 2017

AGNIESZKA HOLLAND

SPOOR (POKOT)

 POLISH  POLAND, GERMANY, CZECH REPUBLIC, SWEDEN, SLOVAK REPUBLIC h 128’ G 2017

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Zaynab is a Pakistani, Muslim lawyer who lives in Chicago. She’s in love with Alma, a Mexican-American woman. Though they’re together, Zaynab is very much in the closet, which makes the more confident Alma uncomfortable. When Zaynab’s recently-widowed mother Parveen moves in, her new project is to find a husband for Zaynab. Zaynab tries her best to keep her secrets from her mother, but some things just have to come out.

DIRECTOR JENNIFER REEDER

EDITOR FELIX PINEIRO

EUGENE SUN PARK, FAWZIA MIRZA

STORY/ SCREENPLAY FAWZIA MIRZA, LISA DONATO

CAST FAWZIA MIRZA, SHABANA AZMI, SARI SANCHEZ

PRODUCTION COMPANY NEW CITY, FULL SPECTRUM FEATURES

CINEMATOGRAPHER CHRISTOPHER REJANO

PRODUCERS BRIAN HIEGGELKE,

FESTIVALS AND AWARDS

SALES AGENT THE FILM COLLABORATIVE

SXSW FILM FESTIVAL

Jennifer Reeder makes films about relationships, trauma and coping. Her films have shown around the world, including at the Sundance Film Festival, Berlin International Film Festival, Venice Biennale and the Whitney Biennial.

FILMOGRAPHY: White Trash Girl (1995), Accidents At Home And How They Happen (2008)

In a small village on the Czech-Polish border, there lives an eccentric old woman named Janina Duszejko with her dogs. She’s a retired engineer, a vegetarian, an amateur astrologist and outraged by the casual way everyone ignores the cruelty underlying the hunting of animals. One day, Duszejko’s dogs disappear and there begins a murder mystery that has the town confused. Who is behind the grisly killings? And why does every crime scene have animal tracks?

DIRECTOR AGNIESZKA HOLLAND

EDITOR PAVEL HRDLIČKA

STORY/ SCREENPLAY OLGA TOKARCZUK, AGNIESZKA HOLLAND

SOUND DESIGN ANDRZEJ LEWANDOWSKI, MATTIAS EKLUND

CINEMATOGRAPHER JOLANTA DYLEWSKA, RAFAŁ PARADOWSKI

CAST AGNIESZKA MANDAT, WIKTOR ZBOROWSKI, MIROSLAV KROBOT

FESTIVALS AND AWARDS

PRODUCER KRZYSZTOF ZANUSSI, JANUSZ WĄCHAŁA PRODUCTION COMPANY TOR FILM PRODUCTION SALES AGENT BETA CINEMA

SILVER BEAR ALFRED BAUER PRIZE, BERLINALE | CHEVAL NOIR AWARD, FANTASIA FILM FESTIVAL, MONTREAL | SYDNEY FILM FESTIVAL | SOFIA INTERNATIONAL FILM FESTIVAL

Agnieszka Holland started her film career assisting Andrzej Wajda and Krzysztof Zanussi. Aside from winning awards and praise for her films, Holland has also worked in television, directing both series like Burning Bush as well episodes for shows like The Wire and House of Cards. Holland is the Chairwoman of European Film Academy (EFA).

FILMOGRAPHY: Angry Harvest (1985), Europa Europa (1991), The Secret Garden (1993), In Darkness (2011), Burning Bush (2013)

WARWICK THORNTON

HONG SANGSOO

SWEET COUNTRY

THE DAY AFTER

 ENGLISH, ARRERNTE  AUSTRALIA h 113’ G 2017

 KOREAN  SOUTH KOREA h 92’ G 2017

(GEU-HU)

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

It is Areum’s first day of work as the PA to a small publisher. Little does she know that the person she’s replaced was her boss, Bong-wan’s lover. Bongwan’s broken up with the former PA, but his wife doesn’t know that — which is why she bursts into the office and accuses Areum, the current PA, of having an affair with her husband. What follows is a wry musing upon relationships, romance and human nature as Bong-wan tries to juggle the three women in his life.

DIRECTOR HONG SANGSOO DIRECTOR WARWICK THORNTON

EDITOR NICK MEYERS

STORY/SCREENPLAY DAVID TRANTER, STEVEN MCGREGOR

SOUND DESIGN DAVID TRANTER, WILL SHERIDAN

CINEMATOGRAPHER WARWICK THORNTON, DYLAN RIVER

CAST SAM NEILL, BRYAN BROWN, HAMILTON MORRIS, THOMAS M WRIGHT

PRODUCERS GREER SIMPKIN, DAVID JOWSEY PRODUCTION COMPANY BUNYA PRODUCTIONS

STORY/ SCREENPLAY HONG SANGSOO

CAST KWON HAEHYO, KIM MINHEE, KIM SAWBYUK, CHO YUNHEE,

CINEMATOGRAPHER KIM HYUNGKOO

PRODUCER HONG SANGSOO

PRODUCTION COMPANY JEOWONSA FILM CO SALES AGENT FINECUT

EDITOR HAHM SUNGWON

SALES AGENT MEMENTO FILMS INTERNATIONAL FESTIVALS AND AWARDS

FESTIVALS AND AWARDS

WORLD CINEMA

The year is 1929. Aboriginal stockman Sam kills white station owner Harry March in self-defence. Scared, Sam and his wife Lizzie go on the run. Eventually, for the health of his pregnant wife, Sam decides to give himself up. Will justice be served? Inspired by the true story of an Aboriginal man named Wilaberta Jack who in the 1920’s was arrested and tried for the murder of a white man in Central Australia, this is a period Western that uses the landscape of Alice Springs, Australia, to striking effect.

CANNES FILM FESTIVAL

VENICE INTERNATIONAL FILM FESTIVAL | TORONTO INTERNATIONAL FILM FESTIVAL

Warwick Thornton studied cinematography at the Australian Film, Television and Radio School. He has previously directed short films as well as the feature Samson and Delilah (2009), which won the Camera d’Or at Cannes Film Festival.

FILMOGRAPHY: Samson and Delilah (2009)

Hong Sangsoo made his debut with The Day A Pig Fell Into The Well and has over the past two decades become renowned as one of world cinema’s finest auteurs. Often likened to Eric Rohmer and Woody Allen, Hong’s films linger upon everyday occurrences, finding insight and complexity in the seemingly mundane. FILMOGRAPHY: The Day A Pig Fell Into The Well (1996), Virgin Stripped Bare By Her Bachelors (2000), Hahaha (2010), Our Sunhi (2013), Right Now, Wrong Then (2015)

147

LANA WILSON

SEAN BAKER

THE DEPARTURE

THE FLORIDA PROJECT

 JAPANESE  USA h 87’ G 2017

 ENGLISH  USA h 112’ G 2017

DOCUMENTARY

FICTION

INDIA PREMIERE

INDIA PREMIERE

A punk-rocker-turned-Buddhist-priest in Japan has made a career out of helping suicidal people find reasons to live. This work, though, has increasingly come at the cost of his own health and family life, as he refuses to draw a line between his patients and himself. This film captures the priest at a crossroads, when a spiral of self-destruction leads him to confront the same question his patients ask him: what makes life worth living?

Moonee and Jancey are six and the fact that they live on the fringes of homelessness isn’t doing a thing to lessen their joie de vivre. Moonee’s mother Halley can barely scrape together rent at The Magic Castle, a motel on the outskirts of Orlando. Despite their hardships, Moonee, Halley and their community do manage to fill their lives with love and happiness. Unfortunately, grim reality is here to pop their summery bubble.

DIRECTOR SEAN BAKER

DIRECTOR LANA WILSON

PRODUCER LANA WILSON

CINEMATOGRAPHER EMILY TOPPER

SALES AGENT DOGWOOF

EDITOR DAVID TEAGUE

CAST WILLEM DAFOE, BROOKLYNN KIMBERLEY PRINCE, BRIA VINAITE, VALERIA COTTO

STORY/SCREENPLAY SEAN BAKER, CHRIS BERGOCH

PRODUCERS SEAN BAKER, CHRIS BERGOCH, KEVIN CHINOY, ANDREW DUNCAN, ALEX SAKS, FRANCESCA

CINEMATOGRAPHER ALEXIS ZABÉ EDITOR SEAN BAKER

FESTIVALS AND AWARDS FESTIVALS AND AWARDS

SILVESTRI, SHIH CHING TSOU PRODUCTION COMPANY JUNE PICTURES, CRE FILM, FREESTYLE PICTURE COMPANY SALES AGENT PROTAGONIST PICTURES

DIRECTORS’ FORTNIGHT, CANNES FILM FESTIVAL | TORONTO INTERNATIONAL FILM FESTIVAL

TRIBECA FILM FESTIVAL

Lana Wilson is an Emmy Award-winning filmmaker based in New York. Her first film, After Tiller (2013), premiered at Sundance Film Festival and won the Emmy for Best Documentary.

FILMOGRAPHY: After Tiller (2013)

Sean Baker is the director of Take Out (2004) and Prince of Broadway (2008), both nominated for the John Cassavetes Independent Spirit Award. His last film, Tangerine (2015), premiered at the Sundance Film Festival and was wellreceived. Baker also the co-creator of the long-running American comedy series, Greg the Bunny. FILMOGRAPHY: Take Out (2004), Prince of Broadway (2008), Tangerine (2015)

AKI KAURISMÄKI

SALLY POTTER

THE OTHER SIDE OF HOPE

THE PARTY

 FINNISH, ENGLISH, ARABIC  FINLAND h 98’ G 2017

 ENGLISH  UK h 71’ G 2017

(TOIVON TUOLLA PUOLEN)

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Janet is a politician climbing up the work ladder. When she gets a promotion to an important position, she organises a party. What should have been a mellow night of polite chit-chat turns into an explosive series of revelations and confessions marked by violence of varying degrees. The film’s impressive ensemble cast was gathered at a set in a London studio, and was shot in just two weeks. Filled with crackling lines (“Tickle an aromatherapist, and you find a Nazi”), The Party adds to the rich legacy of dinner-party-from-hell films without ever feeling like a chip off an old block.

DIRECTOR AKI KAURISMÄKI

SOUND DESIGN TERO MALMBERG

LWOFF, REINHARD BRUNDIG

DIRECTOR SALLY POTTER

SOUND DESIGN JEAN-PAUL MUGEL

STORY/ SCREENPLAY AKI KAURISMÄKI

CAST SHERWAN HAJI, SAKARI KUOSMANEN

PRODUCTION COMPANY SPUTNIK OY

STORY/SCREENPLAY SALLY POTTER

PRODUCERS AKI KAURISMÄKI, MISHA JAARI, MARK

SALES AGENT THE MATCH FACTORY

CAST PATRICIA CLARKSON,BRUNO GANZ, CHERRY JONES, EMILY MORTIMER

CINEMATOGRAPHER TIMO SALMINEN EDITOR SAMU HEIKKILÄ

FESTIVALS AND AWARDS

SILVER BEAR, BERLINALE | GRAND PRIX, LUXEMBOURG CITY FILM FESTIVAL | INTERNATIONAL FILM FESTIVAL AND FORUM ON HUMAN RIGHTS

Aki Kaurismäki is Finland’s most famous filmmaker. His films have won numerous awards and The Other Side of Hope won the Silver Bear at the 67th Berlin International Film Festival. Kaurismäki has said that this is his last film as director.

FILMOGRAPHY: Shadows in Paradise (1986), Leningrand Cowboys Go To America (1989), The Man Without A Past (2002), Le Havre (2011)

CINEMATOGRAPHER ALEXEY RODIONOV EDITOR ANDERS REFN, EMILIE ORSINI

WORLD CINEMA

Khaled, a young Syrian refugee who has lost virtually all of his family, lands up in Helsinki as a stowaway. Wikström, once a travelling salesman, a husband and a poker shark, is now the owner of a failing restaurant. The Syrian and Finn are both men who have left their homes, though under very different circumstances. After a first meeting that involves punched noses and blood, a friendship blossoms.

PRODUCTION COMPANY ADVENTURE PICTURES SALES AGENT GREAT POINT MEDIA

PRODUCERS CHRISTOPHER SHEPPARD

FESTIVALS AND AWARDS

BERLINALE | BFI LONDON FILM FEST

Sally Potter is an award-winning actor. Orlando (1992), her adaptation of Virginia Woolf’s classic novel was nominated for two Academy awards. Over the years, her films have won over 40 international awards. Aside from feature films, she has also directed shorts, television series. She has written a book titled Naked Cinema Working with Actors. FILMOGRAPHY: Orlando (1992), The Man Who Cried (2000), Ginger And Rosa (2012)

149

SONIA KRONLUND

RUBEN ÖSTLUND

THE PRINCE OF NOTHINGWOOD

THE SQUARE

 FRENCH, DARI  FRANCE, GERMANY h 85’ G 2017

 SWEDISH, ENGLISH  SWEDEN, GERMANY, FRANCE, DENMARK h 145’ G 2017

DOCUMENTARY

FICTION

INDIA PREMIERE

INDIA PREMIERE

Salim Shaheen is the most popular actor-directorproducer in Afghanistan and with 110 films in his filmography, he may well be the most prolific in the world. At a time when making movies — even ones that are as supremely cheesy as Shaheen’s — can get you killed, Shaheen is a hero in Afghanistan. He and his crew deliver fantasies despite the abject poverty and conflict in their country. While their movies are beloved across Afghanistan (there are fans even among the Taliban), Shaheen and his actors’ lives are full of stories that deserve their own film.

Christian is a curator working on an art project for a museum about altruism that’s titled, The Square. It’s supposed to remind people of their responsibility towards fellow humans. While the museum’s PR figures out how to ‘sell’ his project, Christian finds himself getting dragged into strange and troubling situations. There’s a stolen phone, a one-night stand, mistaken accusations, and a whole load of chaos, which together offer a satirical portrait of the art world and white privilege.

DIRECTOR RUBEN ÖSTLUND DIRECTOR SONIA KRONLUND

EDITOR SOPHIE BRUNET, GEORGE CRAGG

STORY/ SCREENPLAY SONIA KRONLUND

SOUND DESIGN MATTHIEU PERROT, HASSAN SHABANKAREH

CINEMATOGRAPHER ALEXANDER NANAU, ÉRIC GUICHARD

CAST SALIM SHAHEEN, QURBAN ALI

FESTIVALS AND AWARDS

PRODUCERS LAURENT LAVOLE

STORY/SCREENPLAY RUBEN ÖSTLUND

PRODUCTION COMPANY GLORIA FILMS

CINEMATOGRAPHER FREDRIK WENZEL

SALES AGENT PYRAMIDE INTERNATIONAL

EDITOR RUBEN ÖSTLUND, JACOB SECHER SCHULSINGER

CANNES DIRECTORS’ FORTNIGHT | MUNICH INTERNATIONAL FILM FESTIVAL | LOCARNO FILM FESTIVAL

Sonia Kronlund has co-written scripts, run several documentary series for television and is a radio producer. Nothingwood is her directorial debut.

PRODUCTION DESIGN JOSEFIN ÅSBERG

INDIA DISTRIBUTOR ALLIANCE MEDIA & ENTERTAINMENT

CAST CLAES BANG, ELISABETH MOSS, DOMINIC WEST, TERRY NOTARY PRODUCERS ERIK HEMMENDORFF, PHILIPPE BOBER

FESTIVALS AND AWARDS

PALME D’OR, CANNES FILM FESTIVAL | TORONTO INTERNATIONAL FILM FESTIVAL

Ruben Östlund is an award-winning director, known for his humorous and insightful takes on human behaviour. His first full-length feature, The Guitar Mongoloid (2004) won the FIPRESCI prize at the 2005 Moscow International Film Festival.

FILMOGRAPHY: The Guitar Mongoloid (2004), Play (2011), Force Majeure (2014)

SANTIAGO MITRE

HIROKAZU KOREEDA

THE SUMMIT

THE THIRD MURDER

 SPANISH  ARGENTINA, SPAIN, FRANCE h 115’ G 2017

 JAPANESE  JAPAN h 124’ G 2017

(LA CORDILLERA)

(SANDOME NO SATSUJIN)

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

DIRECTOR SANTIAGO MITRE

MUSIC ALBERTO IGLESIAS

STORY/SCREENPLAY SANTIAGO MITRE AND MARIANO LLINÁS

CAST RICARDO DARÍN, DOLORES FONZI, ÉRICA RIVAS, ELENA ANAYA

CINEMATOGRAPHER JAVIER JULIÁ

PRODUCTION COMPANY K & S FILMS, LA UNIÓN DE LOS RIOS SALES AGENT FILM FACTORY

Leading attorney Shigemori takes on the defence of murder-robbery suspect Misumi, who has served jail time for another murder 30 years ago. Shigemori’s chances of winning the case seem low — his client freely admits his guilt, despite facing the death penalty if he is convicted. As Shigemori digs deeper and listens to the testimonies of the victim’s family and Misumi himself, Shigemori begins to doubt whether his client is the murderer after all.

DIRECTOR HIROKAZU KOREEDA

SOUND DESIGN TOMITA KAZUHIKO

STORY/SCREENPLAY HIROKAZU KOREEDA

CAST FUKUYAMA MASAHARU, YAKUSHO KOJI, HIROSE SUZU

CINEMATOGRAPHER TAKIMOTO MIKIYA

FESTIVALS AND AWARDS FESTIVALS AND AWARDS

UN CERTAIN REGARD, CANNES FILM FESTIVAL

Santiago Mitre is a writer and director. His films have been screened at the prestigious international film festivals and he is best known for Carancho (2010), The Student (2011) and Paulina (2015). Paulina won the FIPRESCI and Nespresso Grand Prize at Cannes Film Festival.

FILMOGRAPHY: Carancho (2010), The Student (2011), Paulina (2015)

PRODUCTION COMPANY FUJI TELEVISION NETWORK, AMUSE, GAGA CORPORATION SALES AGENT GAGA CORPORATION

PRODUCERS MATSUZAKI KAORU, TAGUCHI HIJIRI

EDITOR HIROKAZU KOREEDA

PRODUCERS HUGO SIGMAN, FERNANDO BOVAIRA, MATÍAS MOSTEIRIN

EDITOR NICOLÁS GOLDBART

WORLD CINEMA

Continuing his exploration of politics and how it impacts the lives and thinking of individuals, director Santiago Mitre sets his new film at a summit for Latin American presidents. Here, the Argentine president Hernán Blanco endures a political and family drama that will force him to confront his own demons. He’ll have to come to two decisions that could change the course of his public and private life forever: one regarding a complicated emotional situation with his daughter, and the other, the most important political decision of his career.

VENICE INTERNATIONAL FILM FESTIVAL | TORONTO INTERNATIONAL FILM FESTIVAL | SAN SEBASTIAN INTERNATIONAL FILM FESTIVAL | BUSAN INTERNATIONAL FILM FESTIVAL

Hirokazu Koreeda is a film director, editor, screenwriter and producer. Since 1995, when his debut feature Maborosi (1995) won a prize at Venice Film Festival, he has made a host of award-winning films. Muted but keenly observed, Koreeda’s films are usually domestic dramas that look at the way absences change a family. FILMOGRAPHY: Maborosi (1995), I Wish (2011), Nobody Knows (2004), Still Walking (2008), Our Little Sister (2015)

151

JOACHIM TRIER

M I C H A E L G L AWO G G E R, M O N I K A W I L L I

 NORWEGIAN  NORWAY, SWEDEN, FRANCE, DENMARK h 116’ G 2017

 ENGLISH,GERMAN  AUSTRIA h 107’ G 2017

THELMA

UNTITLED

FICTION

DOCUMENTARY

INDIA PREMIERE

INDIA PREMIERE

Thelma has just moved away from her rigorously religious family in to become a student in Oslo. One day, right after she meets a student named Anja, Thelma has a powerful seizure that leaves her writhing on the floor. As her friendship with Anja deepens, Thelma finds herself more and more drawn to the other woman. Yet her upbringing has taught her to see such feelings as sinful. Overwhelmed by these emotions, her body is racked by seizures and the doctors can make no sense of it. Then, one day, Anja disappears without a trace.

On December 3, 2013, director Michael Glawogger set out to make a film that had no story, no theme and just a rough itinerary of shooting locations. Glawogger wanted to capture the world as it was, without expectations or filters, with serendipity. In April 2014, Glawogger died in Liberia, leaving and editor Monika Willi with 4 months and 19 days of footage from the Balkans, Italy, North and West Africa. Using fragments from Glawogger’s own writing, Willa presents an experimental, poetic film that she describes as “a swansong to the everyday lives of people and animals”.

DIRECTOR JOACHIM TRIER

SOUND DESIGN GISLE TVEITO

DIRECTORS MICHAEL GLAWOGGER, MONIKA WILLI

STORY/SCREENPLAY ESKIL VOGT, JOACHIM TRIER

CAST EILI HARBOE, KAYA WILKINS, ELLEN DORRIT PETERSEN, HENRIK RAFAELSEN

CINEMATOGRAPHER JAKOB IHRE

PRODUCTION COMPANY MOTLYS, FILM I VÄST, LE PACTE SALES AGENT MEMENTO FILMS INTERNATIONAL

PRODUCERS TOMMY PRIDNIG, PETER WIRTHENSOHN

CINEMATOGRAPHER ATTILA BOA EDITOR MONIKA WILLI

PRODUCER THOMAS ROBSAHM

EDITOR OLIVIER BUGGE COUTTÉ

FESTIVALS AND AWARDS

FESTIVALS AND AWARDS

PRODUCTION COMPANY LOTUS FILM SALES AGENT AUTLOOK FILMSALES

FIVE LAKES DOCUMENTARY AWARD, FÜNF SEEN FILMFESTIVAL | BEST CAMERA, BEST DOCUMENTARY, DEUTSCHER KAMERAPREIS | BEST DOCUMENTARY, BELDOCS

TORONTO INTERNATIONAL FILM FESTIVAL

Joachim Trier is a Copenhagen-born, Oslo-raised filmmaker and writer. His films are characterised by a strong narrative, a distinctive visual style and have spanned a range of genres, including comic drama like Reprise (2006) and the thriller.

FILMOGRAPHY: Bombs (2015)

SOUND DESIGN MANUEL SIEBERT

Michael Glawogger was born in Graz, Austria, on December 3, 1959. He made numerous internationally acclaimed shorts, documentaries, and feature films. Monika Willi was born in Innsbruck, Austria, on May 29, 1968. She is an Austrian film editor known for her many years of collaboration with Michael Glawogger and Michael Haneke. Untitled is her co-directing debut.

Reprise (2006), Oslo August 31st (2011), Louder Than

FILMOGRAPHY: Michael Glawogger Megacities (1998), Whores’ Glory (2011)

DANIELA THOMAS

ANNEMARIE JACIR

 PORTUGUESE  BRAZIL, PORTUGAL h 116’ G 2017

 ARABIC  PALESTINE, FRANCE, GERMANY, COLOMBIA, NORWAY, QATAR, UAE h 96’ G 2017

VAZANTE

WAJIB

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Abu Shadi is a divorced father and a school teacher in his mid-sixties living in Nazareth. After his daughter’s wedding, which takes place in a month, he will be living alone. Shadi, his architect son, arrives from Rome, having spent years abroad, to help his father deliver wedding invitations. As the estranged pair spend the day together, the tense details of their relationship come to a head, challenging their fragile and very different lives.

DIRECTOR DANIELA THOMAS

DIRECTOR ANNEMARIE JACIR

EDITOR JACQUES COMETS

STORY/SCREENPLAY ANNEMARIE JACIR

CAST MOHAMMAD BAKRI AND SALEH BAKRI

CAST ADRIANO CARVALHO, LUANA NASTAS, SANDRA CORVELONI, JULIANA CARNEIRO DE CUNHA, ROBERTO AUDIO

STORY/SCREENPLAY DANIELA THOMAS, BETO AMARAL CINEMATOGRAPHER INTI BRIONES

SALES AGENT FILMS BOUTIQUE

PRODUCERS BETO AMARAL, MARIA IONESCU, SARA SILVEIRA

EDITOR ESTEVAN SCHILLING, TIAGO MARINHO

FESTIVALS AND AWARDS

BERLINALE

Daniela Thomas hasn’t decided about her true calling, but in the meantime, she directs and writes films, creates opera and theatre sets, writes and directs plays, designs exhibitions, and creates installations.

FILMOGRAPHY: Sunstroke (2009)

CINEMATOGRAPHER ANTOINE HEBERLE

PRODUCER OSSAMA BAWARDI

FESTIVALS AND AWARDS

WORLD CINEMA

Diamantina Mountains, Brazil, 1821. When Antonio returns to the imposing but decadent farmhouse he has acquired as dowry for marrying the heiress of a diamond baron, tragedy hangs in the air. His wife and child have died, and Antonio must now live in this desolate property, with his demented mother-in-law and slaves for company. Everyone in this house has been displaced from their original home in some way and running through it all are the undercurrents of violence and prejudice that have become the plague of Brazil today.

PRODUCTION COMPANY PHILISTINE FILMS SALES AGENT PYRAMIDE INTERNATIONAL

FICC/IFFS PRIZE, THE YOUTH JURY ENVIRONMENT PRIZE, AND THE ISPEC CINEMA AWARD, LOCARNO FILM FESTIVAL

Annemarie Jacir is an independent filmmaker, editor, cinematographer and teacher. Her feature film was Salt of the Sea (2008), which premiered at Cannes Film Festival and won the FIPRESCI Prize.

FILMOGRAPHY: Salt of this Sea (2008), When I Saw You (2012)

153

TO D D H AY N E S

LUCRECIA MARTEL

 ENGLISH  USA h 117’ G 2017

 SPANISH  ARGENTINA, BRAZIL, SPAIN, FRANCE, NETHERLANDS, MEXICO, PORTUGAL, USA h 115’ G 2017

WONDERSTRUCK

ZAMA

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

Based on Brian Selznick’s critically-acclaimed novel Ben and Rose are children from two different eras who secretly wish their lives were different. Ben longs for the father he has never known, while Rose dreams of a mysterious actress whose life she chronicles in a scrapbook. When Ben discovers a puzzling clue in his home and Rose reads an enticing headline in the newspaper, both children set out on quests to find what they are missing. A mesmerising symmetry unfolds.

DIRECTOR TODD HAYNES

MUSIC CARTER BURWELL

STORY/SCREENPLAY BRIAN SELZNICK

CAST JULIANNE MOORE, OAKES FEGLEY, MILLICENT SIMMONDS, JADEN MICHAEL, CORY MICHAEL SMITH, TOM NOONAN, MICHELLE WILLIAMS

CINEMATOGRAPHER ED LACHMAN EDITOR AFFONSO GONCALVES

FESTIVALS AND AWARDS

PRODUCERS CHRISTINE VACHON, PAM KOFFLER, JOHN SLOSS SALES AGENT FILM NATION

Adapted from a novel by Antonio Di Benedetto that was set in an 18th-century Spanish colony perched on the Asuncion coast, the film doesn’t specify any time. We land up to meet Zama, an officer of the Spanish Crown born in South America, who is waiting for the letter of transfer from this town in which he can feel himself stagnating. It’s a delicate situation — he desperately wants to leave and to do so, he must ensure nothing overshadows his transfer.

DIRECTOR LUCRECIA MARTEL

EDITOR M SCHVERDFINGER, K HARLEY

STORY/ SCREENPLAY LUCRECIA MARTEL

CAST DANIEL GIMÉNEZ CACHO, LOLA DUEÑAS, MATHEUS SALES AGENT NACHTERGAELE, JUAN THE MATCH FACTORY MINUJÍN

CINEMATOGRAPHER RUI POÇAS

INDIA DISTRIBUTOR AMAZON STUDIOS

CANNES FILM FESTIVAL

Todd Haynes is an acclaimed independent filmmaker and screenwriter. His breakthrough film was Far From Heaven (2002), which received four Academy Award nominations. His other noteworthy films include I’m Not There (2007) and Carol (2015).

FILMOGRAPHY: Poison (1991), Safe (1995), Velvet Goldmine (1998), Far From Heaven (2002), Carol (2015)

PRODUCERS BENJAMIN DOMENECH, SANTIAGO GALLELLI, MATÍAS ROVEDA, VANIA CATANI

FESTIVALS AND AWARDS

VENICE INTERNATIONAL FILM FESTIVAL | TORONTO INTERNATIONAL FILM FESTIVAL | NEW YORK FILM FESTIVAL

Lucrecia Martel’s films have been acclaimed at most important film festivals. Retrospectives of her work have been widely exhibited in film festivals and prestigious institutions. In the past, she has taken part in the official juries of Berlin, Cannes, Venice, Sundance and Rotterdam, and has dictated masterclasses around the world.

FILMOGRAPHY: La Ciénaga (2001), La Niña Santa (2004), La Mujer Sin Cabeza (2008)

INDIA STORY F I L M S F R O M A L L C O R N E R S O F T H E C O U N T RY

A Ve r y O l d M a n W i t h E n o r m o u s W i n g s A s k T h e S ex p e r t Bhasmasur C r y H u m a n i ty Nimmo Pa l e B l u e D o t Pu s h k a r Pu ra n Re t u r n i n g To T h e F i rs t B e a t T h e Fo rs a ke n T h e S u m m e r O f M i ra c l e s Wa l k i n g W i t h T h e W i n d

W

ith a country of more than a billion people, 780 languages and countless local cultures, it’s no surprise that India is teeming with stories. Perhaps it is this inherent diversity that makes cinema such a beloved medium for Indian storytellers and audiences. It mirrors our diversity with its own. After all, contained within the frame of cinema are arts old and new, from the sharpest new visual effects to music, one of the oldest forms of entertainment. We consider around 200 films out of approximately the 2,000 noncommercial films that are made in India — a very small ratio — and even this fraction is dazzlingly varied. It’s a reminder of just how multi-faceted a gem is Indian cinema and this makes India Story stand apart. This selection of fiction and documentary films from all over the country are not likely to show up at a cinema near you on a Friday, but are dredged from the far corners of India. Each of them offer a glimpse into how everyday reality is negotiated and transformed by the imagination. Putting together India Story, we found a richly complex picture emerging out of the films that we were selecting. Introspection was a running theme, with young filmmakers exploring questions on patriarchy, caste and community. Aesthetics was force that drove many of the films showcased this year, particularly the documentaries. Non-Hindi cinema, especially from the South, has undergone a major transformation. Alongside big commercial films, there are smaller films being made that are rooted in the local idiom. The influence of new technology was also palpable. From the immense possibilities of the digital medium to being able to find audiences beyond the Indian diaspora, technology is changing the way filmmakers think. They are no longer limited by the logic of existing Indian film industries. It’s an immense freedom and one that the filmmakers in this section have exercised to make cinema that holds the light to India’s many facets. What you will find in India Story is a glimpse of our vibrant, diverse culture of filmmaking; one that’s seeking beauty but isn’t afraid to confront ugliness. So sit back and let India Story tell you some extraordinary tales.

P R AT E E K VAT S

A VERY OLD MAN WITH ENORMOUS WINGS  BENGALI, HINDI, ENGLISH

 INDIA

h 72’

G 2017

DOCUMENTARY WORLD PREMIERE

STORY/SCREENPLAY PRATEEK VATS CINEMATOGRAPHER MEHUL BHANTI

SOUND DESIGN BIGYNA BHUSHAN DAHAL PRODUCER FILMS DIVISION

EDITOR TANUSHREE DAS SAHI, PARAMITA GHOSH

FILMOGRAPHY After Dark (2014)

Manohar Aich, former Mr Universe and one of India’s legendary bodybuilders, is 101 years old. He says he remembers nothing of his past. It’s a struggle between his extraordinarily-fit body and the fragile mind. Shot over two years and enriched by the intimate relationship that developed between the crew and Aich, this is a portrait of a big small man who came from one of the most impoverished places on earth and stormed the world of international bodybuilding in the 1950s.

Prateek Vats is an independent filmmaker and writer based out of Mumbai and Goa. A graduate of the film direction course from Film & Television Institute of India, he has been working on both fiction as well as non-fiction films.

INDIA STORY

DIRECTOR PRATEEK VATS

VA I S H A L I S I N H A

ASK THE SEXPERT  ENGLISH, HINDI

 INDIA

h 83’

G 2017

DOCUMENTARY ASIA PREMIERE

DIRECTOR VAISHALI SINHA CINEMATOGRAPHER ANUP SINGH EDITOR MYLES KANE, ASHISH RAVINRAN SOUND DESIGN NEIL BENEZRA

PRODUCERS VAISHALI SINHA, MRIDU CHANDRA PRODUCTION COMPANY COAST TO COAST FILMS SALES AGENT RO*CO FILMS INTERNATIONAL

CAST DR MAHINDER WATSA

FESTIVALS AND AWARDS

FILMOGRAPHY Made in India (2010)

Despite sex being a taboo topic in India, Dr Mahinder Watsa’s column titled “Ask the Sexpert” is one of the most popular sections in Mumbai Mirror. Characterised by his brand of pragmatic advice and dry wit, Dr Watsa has the distinction of taking the strangest of queries in his stride. His answers, however, have led to him being charged with obscenity. Activists like Pratibha Naitthani believe he’s corrupting the youth, but with a ban on comprehensive sex education in approximately one third of India’s states, there are few resources for Indians to find out about sex. Meet the doctor and columnist who gives sex education in India a good name.

HOT DOCS FILM FESTIVAL | SHEFFIELD DOCFEST | MELBOURNE INTERNATIONAL FILM FESTIVAL

Vaishali Sinha is the co-director and producer of the feature documentary Made in India about the personal stories behind the phenomenon of outsourcing surrogate mothers to India. The film premiered at Hot Docs Film Festival, has been the winner of several awards and was aired on television in the US in 2012. This is her second featurelength documentary film.

NISHIL SHETH

BHASMASUR

 HINDI

 INDIA

h 74’

G 2017

FICTION WORLD PREMIERE

STORY/SCREENPLAY NISHIL SHETH, RAGHAV DUTT CINEMATOGRAPHER SHRISH TOMAR EDITOR PAVAN BHAT SOUND DESIGN YATRIK DAVE, SURAJ BARDIA

CAST MITTAL CHOUHAN, IMRAN RASHEED, TRIMALA ADHIKARI, BHUSHAN VIKAS PRODUCERS KARAN KADAM PRODUCTION COMPANY EAST REEL FILMS

INDIA STORY

DIRECTOR NISHIL SHETH

Dhaanu, a villager, is in financial debt. One night, he stealthily returns from the city to the village. He is hiding from a moneylender. With no other option, Dhaanu decides to sell his donkey, Bhasmasur. He hopes he’ll get a good price for the animal in the city, but his son Tipu shares a bond with Bhasmasur and tries to unsuccessfully stop this expedition. Ultimately, Dhaanu decides to take Tipu to the city with him, to sell Bhasmasur. Their eventful journey brings the father and son closer, but can this bond last?

SALES AGENT BASIL CONTENT MEDIA

Nishil Sheth completed his engineering and moved to pursue cinema by studying editing at Flash Frames Visuals, Bengaluru. Soon after he completed his engineering, he pursued Direction at Whistling Woods International, Mumbai. He has written, directed and edited short films, music videos and trailers. Bhasmasur is his first film.

161

AMSHAN KUMAR

CRY HUMANITY (MANUSANGADA)

 TAMIL

 INDIA

h 93’

G 2017

FICTION WORLD PREMIERE

DIRECTOR AMSHAN KUMAR STORY/SCREENPLAY AMSHAN KUMAR CINEMATOGRAPHER PS DHARAN EDITOR DHANASEKAR SOUND DESIGN RAJESH SASEENDRAN

CAST RAJEEV ANAND, MANIMEGALAI, AS SASI KUMAR, SHEELA RAJKUMAR PRODUCERS S THARA, GANA NATKUNAN PRODUCTION COMPANY AK FILMS

FILMOGRAPHY Third Theatre (1995) Oruththi (2003) Yazhpanam Thedchanamoorthy (2015)

When Kolappan’s father dies, he’s told that he can’t carry his father’s body through the common pathway because he’s Dalit. He seeks help from official powers only to find that they are equally casteist. Refusing to be cowed down, Kolappan begins a protest and finds his village standing by him. Based on an actual incident, Kolappan’s story is a look at the deeply-embedded prejudice that Dalits have endured and against which they’re rising.

Amshan Kumar is a National Award-winning filmmaker and writer. His books on cinema include Cinema Rasanai, Pesum Porchitram and Maatru Padangalum Maatru Sindhanaigalum. His documentary Yazhpanam Thedchanamoorthy won the National Award in 2015 for the Best Arts/Cultural Film. He has made more than 25 documentaries and this is his second fiction feature.

R A H U L S H A N K LYA

NIMMO

 HINDI

 INDIA

h 93’

G 2017

FICTION WORLD PREMIERE

STORY/SCREENPLAY RAHUL SHANKLYA CINEMATOGRAPHER SANGRAM GIRI EDITOR NINAD KHANOLKAR

CAST ANJALI PATIL, KARAN DAVE PRODUCER AANAND L RAI PRODUCTION COMPANY COLOUR YELLOW PRODUCTIONS PVT LTD

INDIA STORY

DIRECTOR RAHUL SHANKLYA

Can you fall in love when you’re eight years old? Set in Jabalpur, a boy falls in love with a girl who is much older than him. He may not know too much about love, but he does know that he should keep it a secret. When her parents decide that it’s time to get her married, her young admirer is far from happy. This is a story of a boy trying to grow up and be a man, just so the girl he loves will take him seriously.

SOUND DESIGN ARUN NAMBIAR

Rahul Shanklya was associated with Indian People’s Theatre Association, Jabalpur, after which he did theatre with Habib Tanveer and completed his Diploma in Direction from National School of Drama. He also got a Diploma in Screenplay Writing from Film and Television Institute of India, Pune. As an associate director, he’s worked on films like Tanu Weds Manu (2011), Raanjhanaa (2013) and Tanu Weds Manu Returns (2015). Nimmo is his directorial debut.

163

GIRISH MOHITE

PALE BLUE DOT (SARVANAAM)

 MARATHI

 INDIA

h 99’

G 2017

FICTION WORLD PREMIERE

DIRECTOR GIRISH MOHITE STORY/SCREENPLAY BASHIR MUJAWAR, GIRISH MOHITE, ASHUTOSH APTE CINEMATOGRAPHER KRISHNA SOREN EDITOR NILESH NAVANATH GAVAND

SOUND DESIGN MANOJ MOCHEMADKAR CAST MANGESH DESAI, DEEPTI DHOTRE, UMESH BOLKE

Death is an ultimate truth and yet, despite knowing it is inevitable, every human being fears it. Ramnath Desai will leave no stone unturned to solve this riddle. The unbearable sorrow of this inhuman destiny and the agonising journey of every human being’s life saga informs this film.

PRODUCERS GIRISH MOHITE PRODUCTION COMPANY PRE TO POST FILMS

FILMOGRAPHY Vishwas (2006), Pratibimb (2011), Bioscope (2015)

Girish Mohite completed his BA in fine arts from Sir JJ Institute of Applied Arts and began his professional life in advertising. Later, he turned to television before making his first film, Vishwas (2006).

KAMAL SWAROOP

PUSHKAR PURAN

 HINDI

 INDIA

h 100’

G 2017

DOCUMENTARY INDIA PREMIERE

PRODUCERS VIJAY PRATAP SINGH

STORY/SCREENPLAY KAMAL SWAROOP

PRODUCTION COMPANY MATCH CUT FILMS

CINEMATOGRAPHER ASHOK MEENA, KUMAR AVYAYA EDITOR SHWETA RAI CHAMLING

INDIA STORY

DIRECTOR KAMAL SWAROOP

Twenty-nine kilometers from Ajmer, in the heart of the Thar Desert is the holy city of Pushkar. Once a year, the town and the nearby dunes become an enormous fairground. Thousands of villagers bring cattle, camels and horses to trade. Folk artists, musicians, ferris wheels and merry-go-rounds appear like a mirage in the desert, only to vanish with the decapitation of Brahma’s fifth head. Designed as a music video, this film explores the ancient myths and politicking of Indian gods as the heavens descend and the water in Pushkar’s lake turns holy.

SOUND DESIGN GAUTAM NAIR

FESTIVALS AND AWARDS

FILMOGRAPHY Om-Dar- B-Dar (1988), Rangabhoomi (2013), Battle for Banaras (2015) Atul (2016)

MONTREAL FILM FESTIVAL

Kamal Swaroop is a two-time President’s award and Filmfare Award-winning director of film, documentaries, television and radio. His film, Om-Dar-B-Dar, remains a cult classic and he won his second National Award for the documentary, Rangabhoomi (2013).

165

SURABHI SHARMA

RETURNING TO THE FIRST BEAT (PHIR SE SAMM PE AANA)

 HINDI

 INDIA

h 85’

G 2017

DOCUMENTARY WORLD PREMIERE

DIRECTOR SURABHI SHARMA CINEMATOGRAPHER AJAY NORONHA EDITOR DIKSHA SHARMA

PRODUCERS SURABHI SHARMA, DR TEJASWINI NIRANJANA PRODUCTION COMPANY SURFILMS

SOUND DESIGN MOHANDAS VP

FILMOGRAPHY Jari Mari: Of Cloth and Other Stories (2001), Aamakaar (2002,) Jahaji Music: India in the Caribbean (2007), Pregnancy, Prescriptions and Protocol (2008) Bidesia in Bambai (2013)

With the decline of the princely states in the 19th and 20th century, Hindustani classical music changed. Many of its practitioners left those courts for the growing colonial city of Bombay, which in turn gave rise to a new audience for the music. Girgaon was one part of Bombay that became home to both the singers and the audiences. Revisiting the sites clustered in and around Girgaon, where Hindustani classical music was taught and performed, the musical legacy of this area is held up to the light. This film emerged from a research project and the interviews conducted during the research phase are available on the online archive, Pad.ma.

Surabhi Sharma studied film direction at the Film and Television Institute of India, Pune. Since 2001 she has produced and directed nine documentaries on gender, globalisation and music. She has also exhibited video installations at Shanghai Biennale, Shenzhen Biennale, and at the Serpentine Gallery London.

JIJU ANTONY

THE FORSAKEN

(ELI ELI LAMA SABACHTHANI?)

 MARATHI

 INDIA

h 81’

G 2016

FICTION

FICTION

INDIA PREMIERE

INDIA PREMIERE

STORY/SCREENPLAY JIJU ANTONY

CAST SANAL AMAN, RAJSHRI DESHPANDE, KALYANEE MULAY, SHWETHA PADDA

CINEMATOGRAPHER PRATHAP JOSEPH

PRODUCER KAZCHA FILM FORUM

EDITOR SANALKUMAR SASIDHARAN

INDIA STORY

DIRECTOR JIJU ANTONY

Jail authorities take Prashant, a Mumbai taxi driver convicted on rape and murder charges, to the gallows. He’s a predator, with brutal crimes to his name, but he is also a victim — of his circumstances and the inequality that strangles the humanity out of individuals who are not privileged. Looking at themes like machismo, childhood trauma and gender stereotypes, this film looks at how a dysfunctional, patriarchal society can turn people into monsters.

SOUND DESIGN T KRISHNANUNNI

Jiju Antony is an engineer by education and entered films late, after a stint in marketing. He studied scripting and direction from the Manhattan Film Academy. This is his debut film.

167

P R A S A N T H V I J AY

THE SUMMER OF MIRACLES (ATHISAYANGALUDE VENAL)

 MALAYALAM

 INDIA

h 117’

G 2017

FICTION WORLD PREMIERE

DIRECTOR PRASANTH VIJAY STORY/SCREENPLAY ANISH PALLYAL, PRASANTH VIJAY CINEMATOGRAPHER AMITH SURENDRAN, UDHAII THANGAVEL EDITOR JIJI P JOSEPH

CAST CHANDRA KIRAN GK, REINA MARIA, ARYA MANIKANDAN, JEET MINIFENCE PRODUCER NIKHIL NARENDRAN PRODUCTION COMPANY ICE SKATING IN TROPICS

When a nine-year-old boy’s obsession with becoming invisible gets out of hand, his family decides to intervene. Although they seem to find a solution to the immediate problem, their tactics push the boy further into his imaginary world. Adding to his confusion is the arrival of a teenage cousin who seems to be hiding a secret of her own. Fantasies collide with reality, leaving both of them scarred.

SOUND DESIGN T KRISHNANUNNI, SANDEEP MADHAVAM, JIJI P JOSEPH

Prasanth Vijay learnt cinema by watching, reading and observing. His short film, Manipulated by Fingers (2013), a metaphorical exploration of consumerism, was critically acclaimed. The Summer of Miracles is his first full-length feature film.

P R AV E E N M O R C H H A L E

WALKING WITH THE WIND

 LADAKHI

 INDIA

h 79’

G 2017

FICTION WORLD PREMIERE

STORY/SCREENPLAY PRAVEEN MORCHHALE CINEMATOGRAPHER MOHAMMAD REZA JAHANPANAH EDITOR UJJWAL CHANDRA SOUND DESIGN SANAL GEORGE

CAST SONAM WANGYAL, PHUNCHOK TOLDAN, RIGZIN DOLKAR, SACHI JOKO PRODUCERS MAHESH MOHAN

INDIA STORY

DIRECTOR PRAVEEN MORCHHALE

Ten-year-old Tsering lives in the harsh and difficult terrain of the Himalayas. One day he accidentally breaks his friend’s school chair. When he decides to bring the chair back to his village, the journey of seven kilometres becomes even more arduous than usual.

PRODUCTION COMPANY THE TRIPPY TURTLE PRODUCTIONS

FILMOGRAPHY Barefoot to Goa (2013)

Praveen Morchhale has worked as a theatre director and made short films. His debut full-length film was Barefoot to Goa (2013), which was screened at numerous festivals. This is his second film.

169

SPOTLIGHT The Hungry The Song of Scorpions

B O R N I L A C H AT T E R J E E

THE HUNGRY

 HINDI, ENGLISH

 UK, INDIA

h 100’

G 2017

FICTION INDIA PREMIERE

DIRECTOR BORNILA CHATTERJEE STORY/SCREENPLAY BORNILA CHATTERJEE, KURBAN KASSAM, TANAJI DASGUPTA CINEMATOGRAPHER NICK COOKE EDITOR JAMIE KATAKY SOUND DESIGN LUCY MITCHELL

CAST NASEERUDDIN SHAH, TISCA CHOPRA, NEERAJ KABI, ARJUN GUPTA PRODUCERS KURBAN KASSAM, TANAJI DASGUPTA PRODUCTION COMPANY MICROWAVE INTERNATIONAL, FILM LONDON

Tulsi Joshi is a single mother seeking revenge for the brutal murder of her oldest son. Her target Tathagat Ahuja — a ruthless tycoon and his picture-perfect family. The venue His son’s wedding at the Ahujas’ remote and opulent castle, just outside Delhi. Based on Shakespeare’s Titus Andronicus and set in the elite circles of north India, the film follows Tulsi into a den of corruption and false celebrations, where, with each passing hour, her murderous desires to get even, battle with her own humanity and compassion.

SALES AGENT C INTERNATIONAL SALES

FESTIVALS AND AWARDS

FILMOGRAPHY Let’s Be Out, The Sun Is Shining (2012)

TORONTO INTERNATIONAL FILM FESTIVAL

Bornila Chatterjee is a writer and a filmmaker. She studied film and television at Tisch School of the Arts, New York University. She is a 2014 fellow of the Sundance Institute/ Mumbai Mantra Screenwriters Lab.

ANUP SINGH

THE SONG OF SCORPIONS



HINDI

 SWITZERLAND, FRANCE, SINGAPORE

h 119’

G 2017

FICTION INDIA PREMIERE

DIRECTOR ANUP SINGH

CINEMATOGRAPHER PIETRO ZUERCHER, CARLOTTA HOLYSTEINEMANN EDITOR MARIE-PIERRE FRAPPIER

PRODUCERS SASKIA VISCHER, SHAHAF PELED, MICHEL MERKT

Nooran, carefree and defiantly independent, is a tribal woman learning the ancient art of healing from her grandmother, a revered scorpionsinger. When Aadam, a camel trader in the Rajasthan desert, hears her sing, he falls desperately in love. But even before they can get to know each other better, Nooran is poisoned by a treachery that sets her on a perilous journey to avenge herself and find her song.

SPOTLIGHT

STORY/SCREENPLAY ANUP SINGH

CAST GOLSHIFTEH FARAHANI , IRRFAN KHAN , SHASHANK ARORA

SALES AGENT THE MATCH FACTORY

FESTIVALS AND AWARDS

FILMOGRAPHY Ekti Nodir Naam (2001), Qissa: The Tale of a Lonely Ghost (2013)

LOCARNO INTERNATIONAL FILM FESTIVAL | HAIFA INTERNATIONAL FILM FESTIVAL

Anup Singh graduated from the Film and Television Institute. His first full-length feature, Ekti Nodir Naam (2001) was invited to more than 30 festivals. His second film Qissa The Tale of a Lonely Ghost received more than 15 awards and was well-received.

173

DISCOVERING INDIA

CINEMA OF THE DESI DIASPORA

Pra k a s a n S h a l o m B o l l y wo o d T h e Va l l ey Vi c t o r ’s H i s t o r y W h a t W i l l Pe o p l e S a y

F

ocusing on globalisation and how it has influenced emerging Indian cinema, Discovering India is a collection of films that are not indigenously Indian. They see the country from the outside, a third eye looking into what is familiar and obvious but tinged and viewed differently. Such cinema goes beyond diaspora. Every year this section mirrors a different take on India. Some of the films in the selection are made by filmmakers of Indian origin whose films recall their homeland. Others are by international filmmakers drawn to India’s culture, landscape, literature and lore. Then there are films that demonstrate the increasing interchange of India’s powerful acting and other cinematic talent in major international films. Discovering India’s five select films indicate that its canvas is getting larger, more varied and more exciting. Making its Asian premiere, What Will People Say comes from Norway and is by a woman director — Iram Haq — of South Asian descent. It deals with the orthodoxy of her cultural mores, which apply regardless of living in the West. The cast includes the highly-regarded Delhi-based Adil Hussain and Ekavali Khanna from Kolkata. The film premiered at this year’s Toronto International Film Festival (TIFF). Also an Asian premiere, The Valley from USA, is a first film by another woman director, Saila Kariat. It follows a well-placed Indian family whose career-driven patriarch realises in hindsight the psychological damage he has caused his teenage daughter and also his wife. Alyy Khan, who worked out of Mumbai for many years, plays the lead role, while Mumbai actress Suchitra Pillai enacts his wife. The third Asian premiere is Victor’s History, a film by the Berlin-based, French-American Nicolas Chevaillier. He also acts in the film along with his cinematographer Shoaib Lokhandwala, a Mumbaikar and also the film’s co-producer. This Germany-India production, shot entirely in France, marks an unusual, gritty debut. Making its world premiere is Shalom Bollywood by Danny Ben-Moshe, who was raised in London and is based in Australia. His feature-length documentary looks at the major role that Jewish actors played in vintage Bollywood. Another world premiere is the Indo-French production, Prakasan, which is Dubai-based Bash Mohammed’s second feature. Set in Kerala, the film is about a country bumpkin who moves from idyllic forestland to industrialised Cochin. It’s an ironic comment on the diaspora within a country as vast and diverse as India. Looking at the extraordinary mix of multinational filmmakers and their varied stories set across Norway, USA, France, Mumbai and Kerala, this year’s slate of films explores an exciting cinematic space. Uma da Cunha

UMA DA CUNHA

Uma left advertising to make her career in cinema with the Directorate of Film Festivals, Government of India. From 1978 shehas worked independently, organising film festivals in India and abroad, writing for leading newspapers and publications, casting for films such as Deepa Mehta’s Water, Mira Nair’s Kamasutra, Jane Campion’s Holy Smoke, Dev Benegal’s English August, and Ashutosh Gowariker’s Lagaan. She has assisted major festivals such as those at Cannes, Berlinand Venice, and more recently, Toronto and Busan. She has also held Indian film seasons at New York’s Museum of Modern Art, The Lincoln Centre and the Museum of Modern Image. In 1966 she edited Montage - A Monograph on Satyajit Ray. In 2009, she served on the International Jury for Cannes’s Un Certain Regard. Currently, sheedits the journal, Film India Worldwide,and writes for the online daily newspaperthectizen.in. She recently launched her website, Film India Global.

BASH MOHAMMED

PRAKASAN



MALAYALAM

 INDIA, FRANCE, UAE

h 84’

G 2017

FICTION WORLD PREMIERE

DIRECTOR BASH MOHAMMED SCRIPT/SCREENPLAY RAJEEV NAIR CINEMATOGRAPHER PAPPINU

CAST DINESH PRABHAKAR, INDRANS, BALAJI SHARMA, SAIJU KURUPPU PRODUCER SHEEJA MUTHALEEF

A tribal youth named Prakasan lives a carefree life in the lush greenery of rural Kerala. He dreams of a government job, and amazingly, it materialises. This marks the discovery of a new reality as he encounters the sharp-edged city with its conniving ways. It turns out his job is that of a sex-educator, which poses a whole new set of challenges for Prakasan. In a society marked by pseudo moralism and pretensions, a misunderstanding has disastrous consequences that Prakasan must overcome on his own.

DISCOVERING INDIA

EDITOR REZA SERKANIAN, MANOJ

SOUND DESIGN VISHNU GOVIND, SREE SANKAR, RESUL POOKUTTY

PRODUCTION COMPANY FEEL REEL CINEMAS, OVERLAP FILMS

FILMOGRAPHY Lukka Chuppi (2015)

Bash Mohammed is a Dubai-based filmmaker. He made his debut with Lukka Chuppi (2015), which has since earned cult status for its singular treatment.

177

DANNY BEN-MOSHE

SHALOM BOLLYWOOD: THE UNTOLD STORY OF INDIAN CINEMA

 ENGLISH

 AUSTRALIA

h 76’

G 2017

DOCUMENTARY WORLD PREMIERE

DIRECTOR DANNY BEN-MOSHE SCRIPT DANNY BEN-MOSHE CINEMATOGRAPHER DANNY BEN-MOSHE, RAKESH BHILARE, JAKE CLENNELL, BONNIE ELLIOT, ROSHAN MARODKAR, DWIT MONANI, A.J RICKERTEPSTEIN, SUNIL SHARMA, TAPAN VYAS

EDITOR BILL MURPHY, ROBERT WERNER SOUND DESIGN KEITH THOMAS PRODUCER DANNY BEN-MOSHE PRODUCTION COMPANY IDENTITY FILMS

FILMOGRAPHY My Mother’s Lost Children (2017) Strictly Jewish: The Secret World of Adass Israel (2016) Code of Silence (2014) Carnaby Street Undressed (2011)

When Indian cinema began 100 years ago, it was frowned upon for Hindu and Muslim women to perform on screen, so Indian Jewish women took on female lead roles and dominated this space for decades. The film reintroduces us to some of India’s great Jewish actors, like Sulochana, the superstar of the silent film era; Pramila, the first Miss India; the unforgettable Nadira; and Bollywood’s favourite uncle, David. Using archival footage, interviews, storyboards and re-enactments, old stories and lives are revived.

Danny Ben-Moshe is one of Australia’s leading documentary filmmakers. He won the country’s top documentary prize, the Walkley Award for his film, Code of Silence.

S A I L A K A R I AT

THE VALLEY



ENGLISH

 USA

h 95’

G 2017

FICTION ASIA PREMIERE

DIRECTOR SAILA KARIAT STORY/SCREENPLAY SAILA KARIAT CINEMATOGRAPHER PAUL NORDIN

SOUND DESIGN TOM MARKS

PRODUCERS SAILA KARIAT, AKI FUJIMURA, JACK SMITH, HELEN KANE, SUSAN ZHANG, HARALD BATISTA, ANDREA BATISTA, RENUKA PULLAT, YUMEE JANG

Neal Kumar and his family seem to be living the American dream in Silicon Valley. However, below this veneer of success, there are fissures of discontent running through everyone in the Kumar family. When college-going Maya, one of Neal’s two daughters, commits suicide, the entire family is devastated. Unable to understand what could have driven Maya to take this drastic step, Neal tries to deal with his grief by digging into her life to discover the truth. It leads him to learn as much about himself and his family as his deceased daughter.

DISCOVERING INDIA

EDITOR ROBIN LEE

CAST ALYY KHAN, SUCHITRA PILLAI, SAMINA PEERZADA

PRODUCTION COMPANY WAVEFRONT PRODUCTIONS

FESTIVALS AND AWARDS

BEST ORIGINAL SCREENPLAY, MADRID INTERNATIONAL FILM FESTIVAL | BEST FEATURE FILM, LONG ISLAND INTERNATIONAL FILM EXPO

Saila Kariat has been an engineer, an entrepreneur and a mother while pursuing a lifelong passion for cinema. The Valley is her first feature film.

179

N I C O L AS C H E VA I L L I E R

VICTOR’S HISTORY

 ENGLISH

 INDIA, GERMANY

h 78’

G 2017

FICTION ASIA PREMIERE

DIRECTOR NICOLAS CHEVAILLIER STORY/SCREENPLAY NICOLAS CHEVAILLIER CINEMATOGRAPHER SHOAIB LOKHANDWALA EDITOR NICOLAS CHEVAILLIER, SHOAIB LOKHANDWALA

CAST KEV CLINSC, NICOLAS CHEVAILLIER, SHOAIB LOKHANDWALA PRODUCERS SHOAIB LOKHANDWALA, NICOLAS CHEVAILLIER PRODUCTION COMPANY CORSAIRE FILMS

Vic hires Dorian and Zuhair — a bullheaded documentary filmmaker and a mild-mannered cameraman — to immortalise his personal hero and role model, his late father. When Vic and Dorian fundamentally disagree about their subject, Zuhair is caught in the cross fire. As the three travel across France, the shiny veneer is peeled off of Vic’s family legacy. Trapped between his past, present, and future, Vic struggles to stay in control as his world is turned upside-down. Shot documentarystyle with natural light and no crew, the film asks one simple question: How far would you go to keep your family’s legacy intact?

Nicolas Chevaillier is a French-American writer and director. He has directed animations, written screenplays, illustrated books and video games. Victor’s History is his first feature film.

IRAM HAQ

WHAT WILL PEOPLE SAY (HVA VIL FOLK SI)



NORWEGIAN, URDU

 NORWAY, GERMANY, SWEDEN

h 106’

G 2017

FICTION ASIA PREMIERE

DIRECTOR IRAM HAQ STORY/SCREENPLAY IRAM HAQ CINEMATOGRAPHER NADIM CARLSEN

SOUND DESIGN TORMOD RINGNES

PRODUCERS MARIA EKERHOVD, KARSTEN STÖTER, LIZETTE JONJIC PRODUCTION COMPANY MER FILM, ROHFILM FACTORY, ZENTROPA SWEDEN

Sixteen-year-old Nisha lives a double life. At home with her family, she is the perfect Pakistani daughter, but when with her friends, she is a normal Norwegian teenager. When her father catches her in bed with her boyfriend, Nisha’s two worlds brutally collide. To set an example, Nisha’s parents decide to kidnap her and place her with relatives in Pakistan. Here, in a country she has never been in before, Nisha is forced to adapt to her parents’ culture.

DISCOVERING INDIA

EDITOR JANUS BILLESKOV JANSEN, ANNE ØSTERUD

CAST MARIA MOZHDAH, ADIL HUSSAIN, ROHIT SARAF

SALES AGENT BETA CINEMA

FESTIVALS AND AWARDS

FILMOGRAPHY I Am Yours (2013)

TORONTO INTERNATIONAL FILM FESTIVAL

Iram Haq is an actress, writer and director. She made and starred in her directorial debut, the short film Little Miss Eyeflap (2009), which was screened at Sundance Film Festival. Her first full-length feature film was I Am Yours (2013) and was selected as Norway’s official entry for the Oscars.

181

R A L P H W E N I G/ H K

CLOSE-UP M O N I C A B E L LU C C I

Malèna I r reve rs i b l e O n T h e M i l k y Ro a d

F

rom Cleopatra to Mary Magdalen to Persephone of a matrixed future, it seems there is not a time in history or imagination in which Monica Bellucci doesn’t epitomise poise, beauty and that special quality of being able to turn everything topsy-turvy. That Monica Bellucci can stop traffic and turn heads has been an unchanging fact since she began her modelling career in her native Italy, at the age of 13. She transitioned to films in the 1990s and when you look at her performances — consider The Apartment (1996), for which she won a César, or her Magdalen in The Passion Of The Christ (2004) — Bellucci’s gift is her ability to make you feel for her character. Time and time again, Bellucci has picked roles that demand we look past her perfect features. Malèna (2000), for instance, is a reminder that the prettiness that seems like a gift can render a woman vulnerable too. Challenging herself and audiences with films that are demanding and provocative, like Irreversible (2002), Bellucci has often played parts that turn her beauty into a device, a tool to make the twists more piercing and the turns, more dramatic. Today, Monica Bellucci is not just one of the most beautiful women in the world, but also an actor pushing past the conventions that in the past have held women back in show business. But not any more, and certainly not with Bellucci. She’s had a release every year for the past decade. She’s shattered stereotypes by playing a Bond ‘girl’ in Spectre (2015). Her latest film, On The Milky Road (2017), premiered at the Venice Film Festival. At 52, Bellucci is in one of the most fruitful phases of an impressive acting career.

G I U S E P P E TO R N ATO R E

MALÈNA  ITALIAN h 109’ G 2000

In a war-torn Italian town, a beautiful woman brings out the worst in the society around her. Partly a coming-of-age story about a teenaged boy who falls in love with the sensual Malèna, the film also shows how the war turned people brutal, unforgiving and inhumane. Because when a woman as lovely as Bellucci’s Malèna won’t melt your heart, surely the world has lost its bearings? DIRECTOR GIUSEPPE TORNATORE SCREENPLAY GIUSEPPE TORNATORE

CINEMATOGRAPHER LAJOS KOLTAI EDITOR MASSIMO QAGLIA CAST MONICA BELLUCCI, GIUSEPPE SULFARO

PRODUCERS HARVEY WEINSTEIN, CARLO BERNASCONI PRODUCTION COMPANY MIRAMAX

G AS PA R N O É

IRREVERSIBLE  FRENCH h 99’ G 2002

The events of a terrible day are arranged in reverse chronological order, and it has a devastating effect. Bellucci is luminous in this film, which makes the horrifically brutal 10-minute rape scene her character suffers, one of the most painful cinematic experiences. DIRECTOR GASPAR NOÉ

EDITOR GASPAR NOÉ

CINEMATOGRAPHER BENOIT DEBIE, GASPAR NOÉ

CAST MONICA BELLUCCI, VINCENT CASSEL, ALBERT DUPONTEL

SCREENPLAY GASPAR NOÉ

PRODUCER CHRISTOPHE ROSSIGNON PRODUCTION COMPANY ESKWAD

EMIR KUSTURICA

ON THE MILKY ROAD Spring in wartime. A milkman’s everyday life is disrupted by the arrival of a mysterious Italian woman who turns his life upside down. This film won the Little Golden Lion at last year’s Venice International Film Festival. DIRECTOR EMIR KUSTURICA SCREENPLAY EMIR KUSTURICA CINEMATOGRAPHER GORAN VOLAREVIĆ, MARTIN ŠEC

EDITOR SVETOLIK MIĆA ZAJC CAST EMIR KUSTURICA, MONICA BELLUCCI

PRODUCER AG STUDIOS, PINBALL LONDON, RASTA INTERNATIONAL, BN FILMS

185

CLOSE-UP

 SERBIAN h 125’ G 2016

RENDEZVOUS

WITH FRENCH CINEMA

B a r ra ge B e a u ty A n d T h e D o g s Bright Sunshine In Félicité Love r Fo r A D a y Re d o u b t a b l e S l e e p i n g B e a u ty T h e Ve n e ra b l e W. T h e Wo r ks h o p T h e Yo u n g K a r l M a r x

LAURA SCHROEDER

BARRAGE

 FRENCH

 LUXEMBOURG, BELGIUM, FRANCE

h 109’

G 2017

FICTION INDIA PREMIERE

DIRECTOR LAURA SCHROEDER STORY/ SCREENPLAY LAURA SCHROEDER CINEMATOGRAPHER HÉLÈNE LOUVART EDITOR DAMIEN KEYEUX CAST LOLITA CHAMMAH, THEMIS PAUWELS, ISABELLE HUPPERT

PRODUCERS POL CRUCHTEN, JEANNE GEIBEN, SEBASTIEN DELLOYE, SEBASTIEN SCHELENZ, MARTINE DE CLERMONT-TONNERRE PRODUCTION COMPANY RED LION, ENTRE CHIEN ET LOUP, MACT PRODUCTIONS

Catherine returns to Luxembourg after years to meet her estranged daughter Alba, who has been raised by her grandmother and Catherine’s mother Elisabeth. Elisabeth is protective of Alba, which is why one day, Catherine decides to ‘kidnap’ her daughter so that the two of them can go on a road trip. So begins an unsettling journey into the puzzling and complex world of maternal love.

SALES AGENT LUXBOX

FESTIVALS AND AWARDS

FILMOGRAPHY Schatzritter (2012)

BERLINALE

Laura Schroeder studied film and direction in Paris and London. She’s written and directed films, plays and short films. Barrage is her second feature.

KAOUTHER BEN HANIA

BEAUTY AND THE DOGS (AALA KAF IFRIT)



ARABIC

 TUNISIA, FRANCE, SWEDEN, NORWAY, LEBANON, SWITZERLAND

h 100’

G 2017

FICTION INDIA PREMIERE

DIRECTOR KAOUTHER BEN HANIA STORY/ SCREENPLAY KAOUTHER BEN HANIA CINEMATOGRAPHER JOHAN HOLMQUIST EDITOR NADIA BEN RACHID SOUND DESIGN MOEZ CHEIKH

CAST MARIAM AL FERJANI, GHANEM ZRELLI PRODUCERS NADIM CHEIKHROUHA, HABIB ATTIA PRODUCTION COMPANY CINETELEFILMS, TANIT FILMS

Mariam is a college student in Tunisia. One evening, at a party, she meets Youssef. They leave together, unaware that a night of trauma is about to unfold. How do you get medical help in the dead of the night if being raped isn’t considered an emergency by hospitals? How do you get justice when your complaint has to be reported to the very men who raped you?

SALES AGENT JOUR2FÊTE

FILMOGRAPHY Imams Go To School (2010), Challat of Tunis (2014), Zaineb Hates The Snow (2016)

CANNES FILM FESTIVAL | BUSAN INTERNATIONAL FILM FESTIVAL

RENDEZVOUS

FESTIVALS AND AWARDS

Kaouther Ben Hania studied cinema in Tunisia and in Paris. Her documentary Imams Go To School was selected in many prestigious festivals. Her documentary, Zaineb Hates The Snow, premiered in the official selection at Locarno Film Festival 2016, and is part of Half Ticket.

189

CLAIRE DENIS

BRIGHT SUNSHINE IN (UN BEAU SOLEIL INTÉRIEUR)

 FRENCH

 FRANCE

h 94’

G 2017

FICTION INDIA PREMIERE

DIRECTOR CLAIRE DENIS STORY/SCREENPLAY CLAIRE DENIS, CHRISTINE ANGOT CINEMATOGRAPHER AGNÈS GODARD EDITOR GUY LECORNE

CAST JULIETTE BINOCHE, XAVIER BEAUVOIS, PHILIPPE KATERINE, JOSIANE PRODUCER OLIVIER DELBOSC SALES AGENT PLAYTIME

FESTIVALS AND AWARDS

FILMOGRAPHY Chocolat (1988), Man No Run (1989), Nenette and Boni (1996), 35 Shots of Rum (2008), White Material (2009)

Isabelle is a Parisian artist, a divorced mother and she’s looking for true love. Unfortunately, she only encounters men who prove to be thoroughly incompatible. Her lovers, almost without exception, treat Isabelle with a certain callousness. Many of them have wives. As Isabelle discovers, mid-life dating, particularly for women of a certain age, comes with its own labyrinth of trials, tribulations and fleeting moments of bliss.

SACD PRIZE FOR BEST SCREENPLAY, DIRECTORS’ FORTNIGHT, CANNES FILM FESTIVAL

Claire Denis is one of Europe’s most distinctive auteurs and among the masters of contemporary cinema. She has made numerous award-winning fiction and documentary films, as well as short films. Lyrical and understated in style, Denis’s films scrutinise social boundaries and prejudice. She has been particularly interested in the complex and often discordant relationship France has with West Africa.

ALAIN GOMIS

FÉLICITÉ



LINGALA

 FRANCE, SENEGAL, BELGIUM, GERMANY, LEBANON

h 123’

G 2017

FICTION INDIA PREMIERE

DIRECTOR ALAIN GOMIS STORY/ SCREENPLAY ALAIN GOMIS CINEMATOGRAPHER CÉLINE BOZON

CAST VÉRO TSHANDA BEYA, GAETAN CLAUDIA, PAPI MPAKA PRODUCER ARNAUD DOMMERC

EDITOR FABRICE ROUAUD

PRODUCTION COMPANY ANDOLFI

SOUND DESIGN BENOIT DE CLERCK

SALES AGENT JOUR2FÊTE

FILMOGRAPHY L’afrance (2001), Andalucia (2007), Today (2012)

GRAND JURY PRIZE, BERLINALE | BEST FILM ISTANBUL INTERNATIONAL FILM FESTIVAL

RENDEZVOUS

FESTIVALS AND AWARDS

Félicité is a proud, free-willed woman working as a singer in a bar in Kinshasa. Her life is thrown into turmoil when her teenaged son has an accident that leaves the 14-year-old bedridden in a municipal hospital. His broken leg requires treatment that Félicité can’t afford, so she sets out on a breakneck race through an electric world of music and dreams. Then her paths cross with Tabu, a regular at the bar where Félicité sings, and there appears the hope of a new harmony.

Alain Gomis is a French director of Bissau Guinean and Senegalese origins. Among his critically-acclaimed films are As A Man (2001), which was awarded a Silver Leopard in Locarno, and Andalucia (2007), which was selected for Venice Days.

191

PHILIPPE GARREL

LOVER FOR A DAY (L’AMANT D’UN JOUR)

 FRENCH

 FRANCE

h 76’

G 2017

FICTION ASIA PREMIERE

DIRECTOR PHILIPPE GARREL STORY/ SCREENPLAY ARLETTE LANGMANN, JEAN-CLAUDE CARRIERE, CAROLINE DERUAS, PHILIPPE GARREL.

CAST ERIC CARAVACA, ESTHER GARREL, LOUISE CHEVILLOTTE PRODUCERS SAÏD BEN SAÏD, MICHEL MERKT

CINEMATOGRAPHER RENATO BERTA

PRODUCTION COMPANY SBS FILMS

EDITOR FRANÇOIS GEDIGIER

SALES AGENT SBS INTERNATIONAL

Twenty-three-year-old Jeanne goes back home to her father after a terrible break-up. She doesn’t know that her father is no longer single. His partner is Ariane, also 23. This film is the closing part of Philippe Garrel’s trilogy, consisting of Jealousy (2013) and In The Shadow of Women (2015). Like the two previous films, this one also presents a sensitive exampination of certain aspects of love and the emotions it inspires.

SOUND DESIGN FRANÇOIS MUSY, GUILLAUME SCIAMMA

FESTIVALS AND AWARDS FILMOGRAPHY The Secret Child (1979), I Don’t Hear The Guitar Anymore (1990), Wild Innocence (2001), Regular Lovers (2005)

SACD PRIZE, DIRECTORS’ FORTNIGHT, CANNES FILM FESTIVAL

Philippe Garrel is a French director, actor and one of the icons of the French New Wave. He has received the Prix Jean-Vigo for The Secret Child (1979) and was twice awarded the Silver Lion at the Venice Film Festival.

M I C H E L H A Z A N AV I C I US

REDOUBTABLE (LE REDOUBTABLE)



FRENCH

 FRANCE

h 107’

G 2017

FICTION INDIA PREMIERE

DIRECTOR MICHEL HAZANAVICIUS CINEMATOGRAPHER GUILLAUME SCHIFFMAN EDITOR ANNE-SOPHIE BION STORY/SCREENPLAY MICHEL HAZANAVICIUS

CAST LOUIS GARREL, STACY MARTIN, BÉRÉNICE BEJO SOUND DESIGN JEAN MINONDO PRODUCERS MICHEL HAZANAVICIUS, FLORENCE GASTAUD, RIAD SATTOUF

When Jean-Luc Godard heard this biopic on his relationship with his second wife was in the works, he declared it was “a stupid, stupid” idea. But the life of an artist, particularly one as prodigiously talented as Godard, contains enough potential for insight, as this film shows. Starting in 1967, when Godard was filming La Chinoise with actress Anne Wiazemsky (they would soon marry), we’re shown how the terrible reviews and reception that La Chinoise got would lead to a profound selfexamination in Godard.

INDIA DISTRIBUTOR IN2 INFOTAINMENT

FILMOGRAPHY OSS 117: Cairo, Nest of Spies (2006), OSS 117: Lost in Rio (2009), The Artist (2011)

RENDEZVOUS

FESTIVALS AND AWARDS

CANNES FILM FESTIVAL

Michel Hazanavicius began his career in television before becoming one of France’s most celebrated filmmakers. He is best known for the Oscar and BAFTA-winning The Artist (2011), which premiered at the Cannes Film Festival.

193

A D O A R R I E T TA

SLEEPING BEAUTY (BELLE DORMANT)

 FRENCH

 FRANCE

h 82’

G 2017

FICTION INDIA PREMIERE

DIRECTOR ADO ARRIETTA STORY/ SCREENPLAY ADO ARRIETTA

CAST NIELS SCHNEIDER, AGATHE BONITZER, MATHIEU AMALRIC, TATIANA VERSTRAETEN

CINEMATOGRAPHER THOMAS FAVEL, YANNIG WILLMANN

PRODUCERS NATHALIE TRAFFORD, EVA CHILLON

EDITOR ADO ARRIETTA

PRODUCTION COMPANY PARAISO PRODUCTION DIFFUSION

SOUND DESIGN MATHIEU DESCAMPS, ALEXANDRE HECKER, CHRISTOPHE VINGTRINIER

The year is 2000. Egon is the young prince of the Kingdom of Letonia. He spends his time smoking cigarettes, playing drums and making pictures. One day, he finds out about the kingdom of Kentz, where time has stood still since the 19th century because of a curse that has plunged everyone into prolonged sleep. Egon is desperate to find Sleeping Beauty and break the spell. But his father, the King, doesn’t believe in fairy tales and will do everything to stop Egon.

SALES AGENT CAPRICCI FILMS

FESTIVALS AND AWARDS

FILMOGRAPHY Les Intrigues De Sylvia Couski (1974), Flammes (1978), Grenouilles (1983)

INTERNATIONAL FILM FESTIVAL ROTTERDAM | BELFORT ENTREVUES FILM FESTIVAL

Ado Arrietta began his career making short films after he moved from Madrid to France in 1967. Regarded as a pioneer of European underground cinema by the likes of Andy Warhol, Arrietta is inspired by the world of the marvellous.

BARBET SCHROEDER

THE VENERABLE W. (LE VENERABLE W.)



FRENCH

 FRANCE, SWITZERLAND

h 100’

G 2017

DOCUMENTARY INDIA PREMIERE

DIRECTOR BARBET SCHROEDER

TELEVISION SUISSE, SRG, SSR

CINEMATOGRAPHER VICTORIA CLAY MENDOZA

SALES AGENT LES FILMS DU LOSANGE

EDITOR NELLY QUETTIER PRODUCTION COMPANY LES FILMS DU LOSANGE, BANDE A PART FILMES, ARTE FRANCE CINEMA, RADIO

FILMOGRAPHY More (1969), General Idi Amin: A Self Portrait (1974), Barfly (1987), Terror’s Advocate (2007)

RENDEZVOUS

FESTIVALS AND AWARDS

In Burma, the ‘Venerable Wirathu’ is a highly-respected and influential Buddhist monk. On one hand, Ashin Wirathu preaches the peaceful doctrine that’s popularly associated with Buddhism. On the other, he’s the self-appointed leader of the anti-Muslim campaign that has targeted the Rohingyas of Myanmar and fuelled the flames of genocide. Using interviews with Wirathu and his critics, this documentary takes you to the heart of everyday racism and observes how toxic and destructive hate speech can be.

CANNES FILM FESTIVAL

Barbet Schroeder is a Swiss film director and producer. He has produced some of the most famous films of the French New Wave. He has also directed award-winning documentaries, feature films and commercial successes like Barfly (1987) and Single White Female (1992). The Venerable W can be seen as the last part of Schroeder’s ‘trilogy of evil’, which includes General Idi Amin: A Self Portrait (1974) and Terror’s Advocate (2007).

195

LAURENT CANTET

THE WORKSHOP (L’ATELIER)

 FRENCH

 FRANCE

h 113’

G 2017

FICTION INDIA PREMIERE

DIRECTOR LAURENT CANTET STORY/SCREENPLAY ROBIN CAMPILLO, LAURENT CANTET CINEMATOGRAPHER PIERRE MILON EDITOR MATHILDE MUYARD

CAST MARINA FOIS, MATTHIEU LUCCI, WARDA RAMMACH, ISSAM TALBI PRODUCER DENIS FREYD SALES AGENT PLAYTIME

FESTIVALS AND AWARDS

La Ciotat, the South of France. Antoine attends a summer writing workshop in which a few teenagers have been selected to jointly write a crime thriller set in this town. Their mentor is Olivia, a famous novelist. But as literary, moral and political lines criss-cross, there’s a thriller that is enacted in their reality too. Antoine says he’s apolitical, but there lurks close to his surface, racist right-wing sympathies. Tension thickens quickly, and it doesn’t help that Olivia is as fascinated as she is alarmed by Antoine’s disruptive roughness.

CANNES FILM FESTIVAL

Laurent Cantet is a film director, cinematographer and screenwriter. His L’Emploi Du Temps (2001) is considered among the best films of 2000s. He won the Palme d’Or at Cannes Film Festival for Entre Les Murs (2008).

RAOUL PECK

THE YOUNG KARL MARX (LE JEUNE KARL MARX)

 FRENCH, GERMAN, ENGLISH

 FRANCE, GERMANY, BELGIUM

h 112’

G 2017

FICTION INDIA PREMIERE

DIRECTOR RAOUL PECK

KRIEPS, OLIVIER GOURMET

STORY/SCREENPLAY PASCAL BONITZER, RAOUL PECK

PRODUCERS NICOLAS BLANC, RAOUL PECK, RÉMI GRELLETY, ROBERT GUÉDIGUIAN

CINEMATOGRAPHER KOLJA BRANDT EDITOR FRÉDÉRIQUE BROOS CAST AUGUST DIEHL, STEFAN KONARSKE, VICKY

PRODUCTION COMPANY AGAT FILMS, VELVET FILM

Paris, 1844. Karl Marx is 26 and has already ruffled the feathers of the German establishment with his radicalism. He meets Friedrich Engels, the son of a factory owner and a bit of a dandy. Together, between censorship and police raids, riots and political upheavals, they will preside over the birth of the labour movement, which will birth one of the most influential theories since the Renaissance.

SALES AGENT PLAYTIME

FILMOGRAPHY Haitian Corner (1988), Lumumba: Death Of A Prophet (1990), Moloch Tropical (2009), I Am Not Your Negro (2016)

BERLINALE

RENDEZVOUS

FESTIVALS AND AWARDS

Raoul Peck is a Haitian director, screenwriter and producer. His films often offer a close examination of privilege and race. He is president of La Fémis, the French state film school, and has served on the juries of prestigious film festivals like Cannes and Berlinale. In 2001, the Human Rights Watch Organization awarded him with the Irene Diamond Lifetime Achievement Award.

197

MARATHI TALKIES

A A M C H E M OV I E S, PA R A L L E L TO T H E M A I N ST R E A M

Kaccha Limbu M u ra m b a Ta ke C a re G o o d N i g h t The Goat T h e Lo t t e r y Ubuntu

A

fter the exuberant response that the first edition of Marathi Talkies garnered last year, there was naturally a lot of excitement surrounding this year’s selection. One thing that stood out was that after the success of films like Fandry, Killa and Elizabeth Ekadashi, the Marathi film industry has opened up to a brood of directors with new and different takes. Some of this young crop are fresh out of film school, others have come to direction after honing other skills for several years. It is true and unfortunate that Marathi films do not see much box office success, but we live in hope that this will not take away from its ability to nurture its storytellers. It is imperative that filmmakers enter this industry with new ideas just as it is important that the producers who back their dreams, thrive. The theme this year, therefore, is directorial debuts. In the age of Netflix and Amazon, comparisons of ‘festival’ and ‘commercial’ cinema are unfair. Marathi films released till last year are available on such platforms and so we trained our focus upon titles released in 2017. Muramba tells the story of urban youth. Idak offers a subtle message against superstitious practices. Ubuntu is a tale of humanity. The scope of regional cinema is growing thanks to the efforts of such sensible and sensitive directors. Team MAMI appreciates and supports their effort. Amol Parchure

AMOL PARCHURE

Amol Parchure is an award-winning journalist who, after 17 years in television journalism, decided to shift to the web. His experience and his long association with the film and theatre industry has made him a known and trusted name in the fraternity. Now with Adbhoot Creatives Private Limited, Amol hosts “Popcorn Pe Charcha”, the first film review and interview show online in Marathi. He also reviews Marathi films for Film Companion.

PRASAD OAK

VARUN NARVEKAR

KACCHA LIMBU

MURAMBA

 MARATHI  INDIA h 115’ G 2017

FICTION

FICTION

Based on a novel by legendary Marathi novelist, Jaywant Dalvi, this is the story of a couple struggling with a mentally-challenged child. While the father sinks into a perpetual night shift at work, the mother drifts towards another man. Meanwhile, their son is 16 years old and growing into his sexuality. Can this family keep from falling apart and come back together? At playgrounds in western India, a kaccha limbu is the underdog.

DIRECTOR PRASAD OAK

EDITOR JAYANT JATHAR

STORY/ SCREENPLAY JAYWANT DALVI, CHINMAY MANDLEKAR

SOUND DESIGN ANMOL BHAVE

CINEMATOGRAPHER AMALENDU CHAUDHARY

 MARATHI  INDIA h 127’ G 2017

CAST SACHIN KHEDEKAR, SONALI KULKARNI, RAVI JADHAV, ANANTH

MAHADEVAN PRODUCERS MANDARR DEVSTHALI, AAKASH PENDHARKAR PRODUCTION COMPANY TEAMWORK ULTRA CREATIONS

DIRECTOR VARUN NARVEKAR

SOUND DESIGN AVINASH SONAVANE

STORY/ SCREENPLAY VARUN NARVEKAR

CAST SACHIN KHEDEKAR, AMEY WAGH, CHINMAYEE SUMIT, MITHILA PALKAR

CINEMATOGRAPHER MILIND JOAG EDITOR VISHAL BATE

PRODUCERS NITIN VAIDYA, NINAD VAIDYA, APARNA

PADGAONKAR, RANJIT GUGLE, ANISH JOAG PRODUCTION COMPANY DASHAMI STUDIOZ, HUGE PRODUCTIONS, PRATISAAD PRODUCTIONS

Varun Narvekar is a filmmaker and writer. He co-wrote the screenplay of The Bright Day (2012), which was screened at the 2013 Toronto International Film Festival. This is his first full-length feature film.

MARATHI TALKIES

Prasad Oak is a veteran actor, with more than 100 Marathi films, plays and television shows to his credit. He is famous for playing the role of Harshvardhan Bhosle in Avaghchi Sansar. Kaccha Limbu is his directorial debut.

One day Alok announces to his parents that he and his girlfriend Indu have broken up. His parents are taken aback. Should they interfere in their son’s life and help the couple get back together? Or should they give Alok his ‘space’? Two generations try to appreciate and understand their notions of what goes into a man-woman relationship.

203

G I R I S H J AYA N T J O S H I

D E E PA K G AWA D E

TAKE CARE GOOD NIGHT

THE GOAT

 MARATHI  INDIA h 110’ G 2016

 MARATHI  INDIA h 106’ G 2017

(IDAK)

WORLD PREMIERE FICTION

FICTION

Avinash is retired and lives with his wife, Asavari, and daughter, Sanika. His son Sameer is studying abroad. They’re an everyday family whose life is turned upside down when a cyber criminal starts attacking them. First, Avinash is scammed and loses a chunk of money. Then videos of Sanika are put up online without her knowledge or consent. How can the family retaliate?

Namya’s mother wants a goat. She’s had a dream in which the Mother Goddess has asked for a sacrifice and so Namya, who can’t afford to buy a goat, has to find a way of fulfilling his mother’s and the divine mother’s (presumed) demands. He manages to find a goat, after suffering a fair amount of humiliation. Mother, son and goat then set out to reach the pilgrimage spot where the sacrifice would take place, but the goat is far from an easy travelling companion.

DIRECTOR GIRISH JAYANT JOSHI

DIRECTOR DEEPAK GAWADE

EDITOR PRANAV MISTRY

STORY/ SCREENPLAY DEEPAK GAWADE, HRIDAYNATH JADHAV, DEEPAK BHAVE

SOUND DESIGN ROHIT PATIL, TONY BABU

STORY/ SCREENPLAY GIRISH JAYANT JOSHI CINEMATOGRAPHER ARJUN SORTE EDITOR SATISH PADWAL

SOUND DESIGN NAGESHWAR RAO CHAUDHARI CAST SACHIN KHEDEKAR, IRAVATI HARSHE, MAHESH MANJREKAR, PARNA PETHE, AADINATH KOTHARE

FESTIVALS AND AWARDS

PRODUCERS MAHESH VAMAN MANJREKAR, HIMANSHU KESARI PATIL PRODUCTION COMPANY SP ENTERTAINMENT PVT LTD

CINEMATOGRAPHER ARCHANA BORHADE

CAST SANDEEP PHATAK, USHA NAIK, KISHORE KADAM

PRODUCERS BAISHAKHI BANERJEE, KEERTI GAEKWAD KELKAR, ASHWANI RAJGHARIA, SHARAD KELKAR PRODUCTION COMPANY KIAH FILMS PVT LTD

GOA MARATHI FILM FESTIVAL

Girish Jayant Joshi has worked extensively in theatre as a writer, director, actor as well as set and lighting designer. He has written for television serials and films, and has taught screenplay writing in Pune. This is his directorial debut.

Deepak Gawade shifted to films after working in television production for many years. His short film, Heyro Party (2013), won the National Award for Best Film in the Family Values category, in 2014. This is his first full-length feature film.

SANDEEP MODI

PUSHKAR SHROTRI

THE LOTTERY

UBUNTU

 MARATHI  INDIA h 118’ G 2017

 MARATHI  INDIA h 114’ G 2017

(CHUMBAK)

WORLD PREMIERE FICTION

FICTION

Fifteen-year-old Baalu cleans tables at a restaurant in Mumbai. His dream is to have his own sugar cane stand and hoping to make the money quickly, he invests in a dubious scheme. Unfortunately, he loses all his savings. A bitter Baalu decides he’s going to con the world since it doesn’t value his honesty and hard work. So Baalu sets up his own scam, but when the only person to fall for it is an earnest, mentallychallenged man, Baalu must choose between his dream and his humanity.

When the village schoolmaster has to go back to his own village, he asks one of his brightest students, Gauri, to hold the fort while he’s away. Gauri finds few parents are interested in sending their children to school if she’s teaching, but she perseveres. In the middle of all this, she learns that a representative from the Education Department will come for inspection. To make sure the school shows 100% attendance, Gauri needs to make sure she finds one of the brightest students, Abdul. But Abdul has been sent off to work in a nearby town. If Gauri can’t find him, the school might just get closed down.

DIRECTOR SANDEEP MODI

PRODUCERS NARAIN S KUMAR

DIRECTOR PUSHKAR SHROTRI

EDITOR ASHU MHATRE

PRODUCTION COMPANY MIILONII MOVIE WORKSS

STORY PUSHKAR SHROTRI

SOUND DESIGN ANMOL BHAVE

SCREENPLAY PUSHKAR SHROTRI, PRATIMA KULKARNI

CAST SARANG SATHYE, SHASHANK SHENDE, KANHA BHAVE, BHAGYASHREE SHANKPAL

STORY/ SCREENPLAY SAURABH BHAVE, SANDEEP MODI CINEMATOGRAPHER RANGARAJAN RAMABADRAN

EDITOR CHANDRASHEKHAR PRAJAPATI SOUND DESIGN ALLWIN REGO CAST SAHIL JADHAV, SWANAND KIRKIRE, SANGRAM DESAI

PRODUCTION COMPANY FABLE FACTORY

Pushkar Shrotri is a director and an actor in both theatre and films. He has received praise for his work in Marathi films such as Kay Dyache Bola (2005) and Haapus (2010). Ubuntu is his first film as a writer, director and producer.

MARATHI TALKIES

Sandeep Modi is an alumnus of the Film and Television Institute of India, Pune. His short film Best Friends Forever won a National Award. This is his first full-length feature film.

CINEMATOGRAPHER SUMANT SAHU

PRODUCERS PUSHKAR SHROTRI, AAKASH PENDHARKAR

205

HALF TICKET T H E B E ST O F K I D - F R I E N D LY C I N E M A

C l o u d b oy L i t t l e H e ro e s Pipsi Rabbit School Swa g ge r T h e D a y M y Fa t h e r B e c a m e A B u s h Z a i n e b H a t e s T h e S n ow + 12 Short Films + T h e H a n d o f Fr i e n d s h i p

T

here are no half measures at Half Ticket! With a diversity of storytelling styles, thematic emphases, vibrant visual landscapes and most importantly, a close look at the world through the window of childhood, this is a collection that offers a full sensory, cinematic experience.

Good children’s cinema is complicated business. “Grown-ups don’t look like grown-ups on the inside either… Truth is, there aren’t any grown-ups,” author Neil Gaiman famously wrote. This has been our guiding principle while putting together Half Ticket this year. The selected films are those that do not patronise children. They are sophisticated examples of filmmaking, creating layered narratives and experimenting with cinematic form. Good children’s cinema, we believe, is cinema for everyone. This year’s competition section has a range of films from the across the world. They explore ideas like war, love, loss, identity and even death through the experiences of children. What is common to the films is that they present the world in all its complexity and provoke experiential reflections. Avoiding a moralistic tone, they instead allow for audiences to find their own meanings in openended narratives. The challenge for us was to include as many films from as many countries as possible. We wanted to show you the world with Half Ticket. We’ve christened the curated section The Hand of Friendship because it emerges as a response to the times in which we live. As children grow up with more borders than ever before, there is an increasing need to build bridges, forge communities and talk over differences. Cinema provides a way of doing this. The Hand of Friendship includes a mix of old and new films, underlining the fact that some ideas do not get outdated, and older films can resonate with new audiences. It is our hope that audiences will carry back with them the idea that children’s experiences of friendship can influence the way they engage with the world and reiterate the importance of this critical ingredient of life. We hope Half Ticket takes you on as much of a journey of sensory delight as it did us when we put it together. Samina Mishra

SAMINA MISHRA

Samina is a documentary filmmaker, writer and teacher based in New Delhi, with a special interest in media for and about children, and in the ways that the arts can be included in education. Her work includes Stories of Girlhood, three films on growing up as a girl-child in India; Home and Away, a multimedia exhibition on immigrant children; Nehru’s Children, an archival research project on the archive of the Children’s Film Society of India; and My Sweet Home: Childhood Stories from a Corner of the City, a book that emerged from a creative writing and art workshop designed to encourage self-expression and creative practice in children. She is the co-curator of Soundphiles, an experimental listening experience, at the Asian Women’s Film Festival, and is currently teaching a Film Studies programme at Pathways World School, Noida and collaborating on Torchlight, a web journal on libraries and bookish love. HALF TICKET

209

JURY ABBAS Abbas is 11 and studies in Grade Seven at Billabong High School. His favourite film character is Ron Weasley and he hopes to go to Hogwarts someday. A good film is... “a picture which you could visualise in your perspective.”

A V I VA C H U G H Aviva is nine. She studies in Chatrabhuj Narsee School, in Grade Five. Her favourite film character is Harry Potter and she wants to go travelling through France. A good film is… “Something that attracts the interest of the audience and for me, it is more about communicating through storytelling.”

H E L LY D H A M E S H A Helly is 15 and studies at Lodha World School (Palava). On top of her list of places to visit is Spain. Her favourite film character is the Black Widow from The Avengers series. A good film is… “one that makes you laugh, cry, experience everything and leaves a deep impression on you forever.”

K R I S H A D H A R M E S H DA M A N I A Krisha is 10 and studies at Akshara High School. She wants to go to Paris and has two favourite film characters: Sunny Gill from Sniff and Kaaka Muttai from Kaaka Muttai. A good film is … “one that gives some moral and is also entertaining.”

P R A B H AT P O D DA R Prabhat is 16 and a student of Aditya Birla World Academy. On top of his travel plans is a trip to Scotland. His favourite film character is Achilles, from Troy. A good film is … “something that makes me think.”

SHIV MENON Shiv is 14 years old and a student of CP Goenka International School. He wants to visit Munich and his favourite film character is Bane from The Dark Knight Rises. A good film is … “inspiring.”

S H R E Y A S I A J I T C H A VA N HALF TICKET

Shreyasi is 14 years old, dreams of interstellar travel and studies in Grade 9, at Udayachal High School. Her favourite film character is Shoya Ishida from A Silent Voice. A good film is … “relatable”.

211

MEIKEMINNE CLINCKSPOOR

CLOUDBOY  DUTCH, SWEDISH, SAMI

 BELGIUM, SWEDEN, NORWAY, THE NETHERLANDS

h 77’

G 2017

FICTION INDIA PREMIERE

DIRECTOR MEIKEMINNE CLINCKSPOOR STORY/SCREENPLAY MEIKEMINNE CLINCKSPOOR CINEMATOGRAPHER CHRISTIAN PAULUSSEN

AYLA GÁREN AUDHILD NUTTI, JOAKIM TRÄGÅRDH, SARA SOMMERFELD PRODUCERS KATLEEN GOOSSENS, OLLE WIRENHED, SABINE VEENENDAAL

SOUND DESIGN THIERRY DE VRIES

PRODUCTION COMPANY BULLETPROOF CUPID BVBA, GÖTAFILM INTERNATIONAL, SUBMARINE FILM

CAST DAAN ROOFTHOOFT,

SALES AGENT LEVELK

EDITOR HÅKAN KARLSSON

FESTIVALS AND AWARDS

Twelve-year-old Niilas is far from thrilled when he’s told he has to go to remote Lapland for the summer, to live with his mother and her new family whom he barely knows. He’s a city boy who feels completely out of place among the Sami, an indigenous reindeer-herding people. The only one he connects with is his half-sister Sunnà. She takes him on a journey that transforms Niilas into ‘cloudboy’. Age eligibility: 8+

TIFF KIDS | ZLIN FILM FESTIVAL | TEL AVIV INTERNATIONAL CHILDREN’S FILM FESTIVAL

Meikeminne Clinckspoor studied at the Film School KASK in Belgium after completing a theatre education in Amsterdam. She graduated in 2009, with her short film for children, The Wishing Tree. She has won awards for her short films for children.

J U A N PA B LO B U S C A R I N I

LITTLE HEROES (PEQUEÑOS HEROES)

 SPANISH

 VENEZUELA

h 75’

G 2017

FICTION ASIA PREMIERE

DIRECTOR JUAN PABLO BUSCARINI STORY/SCREENPLAY ENRIQUE CORTÉS EDITOR PAMPA FILMS

PRODUCERS ANDREINA AGUSTI, PABLO BOSSI, FERNANDO SULICHIN PRODUCTION COMPANY ORINOCO FILMS

More than 200 years ago, Arturo, Pilar and Tico, three brave children from different backgrounds, discover an amazing secret: the key to help Simón Bolívar defeat the enemy’s army. The time has come to fight for freedom. Troops move forward with vigour. The adventure will be epic and the battle, huge! Age eligibility: 11+

SOUND DESIGN CARLOS ABATTE CAST PATRICIA VELASQUEZ, SIMÓN PESTANA, CARLOS PULIDO, ANGELLA GONZÁLEZ

FESTIVALS AND AWARDS

Juan Pablo Buscarini is a renowned film producer and director. He has directed many successful films, including The Game Maker (2014) and the blockbuster Tini: El Gran Cambio de Violeta (2016). Little Heroes is the first South American film that uses MoCap technique.

HALF TICKET

FILMOGRAPHY Condor Crux (2000) El Ratón Pérez (2006) The Game Maker (2014) Tini: El Gran Cambio de Violeta (2016)

INTERNATIONAL ANIMATION FILM FESTIVAL GOLDEN KUKER-SOFIA | ANIMA MUNDI, BRAZIL | LANTERNA MAGICA | ANNECY INTERNATIONAL ANIMATED FILM FESTIVAL

213

R O H A N D E S H PA N D E

PIPSI  MARATHI

 INDIA

h 98’

G 2017

FICTION WORLD PREMIERE

DIRECTOR ROHAN DESHPANDE STORY/SCREENPLAY SAURABH BHAVE CINEMATOGRAPHY LATE AVIRAM MISHRA EDITOR MAYUR HARDAS, ROHAN DESHPANDE SOUND DESIGN ANITA KUSHWAHA

CAST SAHIL JOSHI, MAITHILI PATWARDHAN PRODUCER VIDHI KASLIWAL PRODUCTION COMPANY LANDMARC FILMS SALES AGENT BASIL CONTENT MEDIA

Chaani and Balu are classmates and best friends. Even though theirs is a drought-stricken village in Maharashtra, the two of them find enough joy in their simple lives. It’s only when Chaani’s mother is given only three months to live that a dark shadow is cast upon the children. Determined to save her mother, Chaani visits temples and at one, she hears a story that convinces her that if she can keep a pet fish alive, then her mother will be saved. So Chaani catches a guppy and names it Pipsi, which is also the name of a local cola drink. Just as the Pipsi drink stands for hopes and aspirations of the villagers, so is Pipsi the fish for Chaani. Age eligibility: 11+ Advisory: This film focuses on children grappling with the idea of death.

Rohan Deshpande was born in Ratnagiri and came to Mumbai to study. He enrolled to learn editing soon after completing school and over the past decade has established himself as an editor. This film marks his directorial debut.

U T E VO N M Ü N C H OW- P O H L

RABBIT SCHOOL

(DIE HÄSCHENSCHULE – JAGD NACH DEM GOLDENEN EI)  ENGLISH

 GERMANY

h 76’

G 2017

FICTION INDIA PREMIERE

DIRECTOR UTE VON MÜNCHOWPOHL STORY/SCREENPLAY KATJA GRÜBEL, DAGMAR REHBINDER ANIMATION PETER BOHL

PRODUCER DIRK BEINHOLD PRODUCTION COMPANY AKKORD FILM PRODUKTION GMBH SALES AGENT SOLA MEDIA GMBH

EDITOR ERIK STAPPENBECK

Max, the coolest young city rabbit, is bored at the secluded Easter Rabbit school in the forest where he’s landed up by accident. All he wants to do is go home but he can’t get out. Then he meets Emmy and Madame Hermione, and it turns out there is an adventure ahead. A wily fox family is planning to get their paws on the legendary Golden Egg. It’s up to Max and his friends to save Easter before it’s too late. The film has been adapted from a beloved German picture book by Albert Sixtus and Fritz Koch-Goth. Age eligibility: 5+

SOUND DESIGN MIRKO REINHARD

FESTIVALS AND AWARDS FILMOGRAPHY Kommando Störtebecker (2001)

TIFF KIDS | BERLINALE GENERATION KPLUS | VALENCIENNES FILM FESTIVAL | GIFFONI FILM FESTIVAL

HALF TICKET

Ute von Münchow-Pohl is regarded among Germany’s most successful directors of animation films. She has made her own feature films and worked on television projects. She’s been the animation director on projects like Pippi Longstocking (1998). She made her debut as a director with the feature film, Kommando Störtebecker (2001).

215

OLIVIER BABINET

SWAGGER

 FRENCH

 FRANCE

h 83’

G 2016

DOCUMENTARY INDIA PREMIERE

DIRECTOR OLIVIER BABINET STORY/SCREENPLAY OLIVIER BABINET CINEMATOGRAPHY TIMO SALMINEN

PRODUCTION COMPANY KIDAM, FARO SALES AGENT LUCKY YOU

EDITOR ISABELLE DEVINCK

The 11 teenagers in this documentary live in troubled neighbourhoods of Paris. Despite their difficult lives, these kids have dreams and creativity. And they have swagger, a word that, when used by the French, has a very distinctive and untranslateable attitude. Uncovering their creativity, the film offers a sense of hope without losing sight of the difficult reality that they inhabit. Age eligibility: 15+ Advisory: This film contains some explicit language.

AWARDS

FILMOGRAPHY Robert Mitchum is Dead (2010)

BEST DOCUMENTARY AT INTERNATIONAL LABOR FILM FESTIVAL, BUENOS AIRES | NIGEL MOORE AWARD: BEST FILM FOR YOUNG AUDIENCE, DOXA DOCUMENTARY FILM FESTIVAL, VANCOUVER

Olivier Babinet directed his first short film in 2008, C’est Plutôt Genre Johnny Walker and it won many awards in the festival circuit. His first feature film was Robert Mitchum Is Dead (2010) and was selected for a number of prestigious festivals, including Cannes Film Festival. Babinet has worked with disadvantaged students from the Parisian suburb of Aulnay-sous-Bois, for two years. The idea of making this film emerged from the time he spent with them.

N I C O L E VA N K I LS D O N K

THE DAY MY FATHER BECAME A BUSH (TOEN MIJN VADER EEN STRUIK WERD)

 DUTCH

 THE NETHERLANDS, BELGIUM, CROATIA

h 89’

G 2016

FICTION INDIA PREMIERE

DIRECTOR NICOLE VAN KILSDONK STORY/SCREENPLAY MARLEEN VERSPRILLE, NICOLE VAN KILSDONK CINEMATOGRAPHY GREGG TELUSSA EDITOR DAVID VERDURME SOUND DESIGN JAN SCHERMER

PRODUCERS LEONTINE PETIT, FLEUR WINTERS, EVA EISENLOEFFEL, SINISA JURICIC, TOMAS LEYERS, DRIES PHLYPO, JOOST DE VRIES PRODUCTION COMPANY LEMMING FILM, NUKLEUS FILM (HR), A PRIVATE VIEW (BE), MINDS MEET (BE) SALES AGENT BETA CINEMA

FESTIVALS AND AWARDS

Age eligibility: 8+ ECFA AWARD AT KINODISEEA, INTERNATIONAL CHILDREN’S FILM FESTIVAL, BUCHAREST 2016

| PROFESSIONAL JURY AWARD, KINOKINO INTERNATIONAL FILM FESTIVAL FOR CHILDREN, ZAGREB | TIFF KIDS

Nicole van Kilsdonk was born in Ijmuiden, Netherlands, and received a degree in directing and screenwriting at the Netherlands Film Academy in Amsterdam. HALF TICKET

FILMOGRAPHY Johan (2005) Hoe overleaf ik…? (2008) Heading West (2010) Taking Chances (2011)

Ten-year-old Toda lives in a bakery with her dad, the best pastry chef in town. Toda knows everything there is to know about cakes and pastries and loves it when her dad plays the trumpet. But when he is called away unexpectedly, to defend his country, everything changes. Toda has to undertake an adventurous and challenging journey to the neighbouring country where her mother lives in order to stay safe. On the way she meets strange people, encounters absurd situations and finds a special new friend. Toda is a bright, optimistic and resilient girl who doesn’t give up easily, but will she eventually find her mum?

217

KAOUTHER BEN HANIA

ZAINEB HATES THE SNOW (ZAINEB TAKRAHOU ETHELJ)

 ARABIC, FRENCH

 TUNISIA, FRANCE, QATAR, LEBANON, UNITED ARAB EMIRATES

h 94’

G 2016

DOCUMENTARY INDIA PREMIERE

DIRECTOR KAOUTHER BEN HANIA

PRODUCERS HABIB ATTIA

STORY/SCREENPLAY KAOUTHER BEN HANIA

PRODUCTION COMPANY CINETELEFILMS

CINEMATOGRAPHY KAOUTHER BEN HANIA EDITOR SAMUEL LAJUS

SALES AGENT AUTLOOK FILMSALES

It’s 2009 and Zaineb’s life is about to change. After the death of her father, her mother is all set to build a new life for them and it involves moving to Canada. To entice Zaineb, she’s told that in Canada, there’s snow! But Zaineb wants nothing to do with this new country and so she decides, she hates snow. Covering six years of her life, Zaineb’s story offers a poignant look at emigré life as this Muslim family settles into the West. Age eligibility: 13+

SOUND DESIGN KAOUTHER BEN HANIA

FESTIVALS AND AWARDS FILMOGRAPHY Imams Go to School (2010), Challat Of Tunis (2013), Beauty And The Dogs (2017)

BEST DOCUMENTARY, FESTIVAL CINEMED, MONTEPELLIER | GRAND PRIZE, CARTHAGE FILM FESTIVAL | BEST DOCUMENTARY, UNIVERSITY JURY, MEDFILM FESTIVAL, ITALY

Kaouther Ben Hania studied cinema in Tunisia and then in Paris, at Fémis and la Sorbonne. Her first feature film, Challat of Tunis (2013) was selected by many festivals, including Cannes Film Festival 2014. Zaineb Hates The Snow was selected at Locarno International Film Festival, International Documentary Filmfestival Amsterdam and Hot Docs.

MARTIN TURK

A WELL SPENT AFTERNOON (DOBRO UNOVCENO POPOLDNE)  SLOVENIAN  SLOVENIA, CROATIA h 8’ G 2016

After failing at another job interview, a father spends an afternoon with his seven-year-old son. They find a wallet full of money. Should they take it or do the right thing? Age eligibility: 5+ Martin Turk studied film in Ljubljana Academy of Theater, Radio, Film and Television AGRFT and now lives in Italy. His short films have won prizes around the world. In 2012, he made his first full-length feature, Feed Me With Your Words.

FESTIVALS AND AWARDS

FICTION

EVO PROMOTIONAL AWARD, INTERNATIONAL SHORT FILM FESTIVAL OBERHAUSEN | TIFF KIDS

INDIA PREMIERE

ERISS KHAJIRA, ANNE VAN CAMPENHOUT

CHICKENS FOR KIMARU (KIPPEN VOOR KIMARU)  SWAHILI, ENGLISH  THE NETHERLANDS h 15’ G 2016

Kimaru lives in a slum in Nairobi and is kicked out of school because his mother can’t afford the fees. When someone gifts them chickens, he decides to pay for his education by selling eggs. This film is part of the Just Kids series. Age eligibility: 8+ FESTIVALS AND AWARDS

DOCUMENTARY

CINEKID FESTIVAL | INTERNATIONAL FILM FESTIVAL ROTTERDAM

INDIA PREMIERE

Eriss Khajira runs The Big 5 Media Centre and aims to promote education among slum children. Anne van Campenhout is a creative documentary filmmaker, based in the Netherlands. She has made documentaries in Ghana, Benin, Tanzania, Kenya and other African countries.

WILLEM BAPTIST

DREAMS ABOUT MY FATHER (DROMEN OVER MIJN VADER)  DUTCH  THE NETHERLANDS h 15’ G 2016

Damian’s father died when he was four years old and he lives now with his grandparents. He misses his father terribly, but how do you get closer to someone who is no longer alive? This film is part of the Just Kids series. Age eligibility: 8+ FESTIVALS AND AWARDS

INDIA PREMIERE

NEDERLANDS FILM FESTIVAL

219

HALF TICKET

DOCUMENTARY

Willem Baptist directs creative documentaries and fiction. He also serves as an advisor to the Dutch Cultural Media Fund. He has made award-winning short documentaries, like I’m Never Afraid (2010) and Wild Boar (2013).

FRIEDEMANN HOTTENBACHER

EMIL AND THE BRIDGE DIVERS (EMIL UND DIE BRÜCKENSPRINGER)  BOSNIAN  GERMANY h 27’ 3” G 2016

Leaping off the Old Bridge in Bosnia-Herzegovina and into the river below is a local rite of passage for boys. As 13-yearold Emil gets ready for the big jump, his first challenge is to conquer his fear of heights. Age eligibility: 8+ FESTIVALS AND AWARDS

DOCUMENTARY

TIFF KIDS

Friedemann Hottenbacher has to his credit award-winning television documentaries, which he has written and directed for German and international broadcasters.

ASIA PREMIERE

HANNES THOR ARASON

FOOTSTEPS (FÓTSPOR)  ICELANDIC  ICELAND h 15’ G 2017

When a grandfather and his grandson start playing football together, the generation gap ends up becoming a bit of an obstacle. Age eligbility: 8+

FESTIVALS AND AWARDS

FICTION

GIFFONI FILM FESTIVAL

ASIA PREMIERE

Hannes Thor Arason is a native of Iceland and studied filmmaking in Canada. His first short film, Happy Endings (2014), was screened in various film festivals in North America and Europe.

TA M A R A S H O G AO LU

HALF A LIFE (HALF A LIFE)  ARABIC, ENGLISH  EGYPT, THE NETHERLANDS, USA h 13’ G 2017

A young, gay Egyptian is moved to join the cause for LGBT rights. Soon, his safety is threatened and he’s faced with difficult choices. Age eligibility: 15+ Advisory: The film contains graphic accounts of violence

against gay teens.

FESTIVALS AND AWARDS

DOCUMENTARY INDIA PREMIERE

MUSEUM OF MODERN ART (MOMA) DOC FORTNIGHT | ANNECY INTERNATIONAL ANIMATION FILM FESTIVAL | KLIK AMSTERDAM

Tamara Shogaolu has worked in film and media in the Middle East, United States, Asia, Africa, and Latin America. Her work has been featured at film festivals, galleries, and museums in the US and internationally.

GODELIEVE EIJSINK

JESSER AND THE SUGARCANE (JESSER EN HET SUIKERRIET)  SPANISH  THE NETHERLANDS h 15’ G 2016

Jesser lives in Chichigalpa, Nicaragua. His father works in sugarcane fields and is suffering from severe kidney failure. He decides he’s going to change his faith and make other plans for his future. This film is part of the Just Kids series. Age eligbility: 8+ FESTIVALS AND AWARDS

DOCUMENTARY INDIA PREMIERE

INTERNATIONAL DOCUMENTARY FILM FESTIVAL AMSTERDAM | THESSALONIKI DOCUMENTARY FESTIVAL | AGAINST GRAVITY DOCUMENTARY FESTIVAL

Godelieve Eijsink works as an independent filmmaker and scriptwrite. This is her first children’s documentary.

ELLA SMITH

MDUDU BOY (MDUDU BOY)  SWAHILI  UK h 20’ G 2016

A little boy has a stroke of luck when he gets a brand new football. The story follows our big little hero as he grows in confidence and realises his potential. Age eligibility: 5+ Advisory: The film shows adults buying cigarettes and smoking. FESTIVALS AND AWARDS

FICTION ASIA PREMIERE

Ella Smith is an award winning British actress. This is her first film.

AUDIENCE AWARD, SAVANNAH FILM FESTIVAL | TIFF KIDS | PALM SPRINGS INTERNATIONAL FESTIVAL OF SHORT FILMS

ELS VAN DRIEL

SAFIA’S SUMMER (SAFIA’S ZOMER)  DUTCH  THE NETHERLANDS h 15’ G 2016

Safia lives in a refugee centre. She’s tired of waiting and feels lonely as she and her family wait to find out if they will be granted asylum. When will her life start again? This film is part of the Just Kids series. Age eligibility: 8+ FESTIVALS AND AWARDS

INDIA PREMIERE

TIFF KIDS | CINEKID FESTIVAL

221

HALF TICKET

DOCUMENTARY

Els van Driel initiated the award-winning Just Kids documentary series. As an independent journalist/director, her interests include interreligious conflicts, human and children’s rights and refugees/asylum policies.

MIRJAM MARKS

SPOTLIGHT ON MERNA (MERNA IN DE SPOTLIGHT)  ARABIC, ENGLISH  THE NETHERLANDS h 15’ G 2016

The 11-year-old Iraqi-Christian Merna, stole the show at the blind auditions for The Voice Kids Arab. While in this spotlight, she’s also one of many anonymous refugees in Lebanon. This film is part of the Just Kids series. Age eligibility: 8+ FESTIVALS AND AWARDS

DOCUMENTARY INDIA PREMIERE

INTERNATIONAL DOCUMENTARY FILM FESTIVAL AMSTERDAM | THESSALONIKI DOCUMENTARY FESTIVAL | INTERNATIONAL FILM FESTIVAL ROTTERDAM

Mirjam Marks is the Head of Television for Cinekid Festival. She’s made several documentaries and has been working with children and youth for many years. Her filmography includes The Girl of 672k (2016) and The Qi of China (2013).

HUGUES VALIN

THE DAY I BEAT THE SKY (LE JOUR OÙ J’AI BATTU LE CIEL)  FRENCH  FRANCE h 2’ 48”’ G 2016

This is a film about a boy who is scared of storms but won’t let that hold him back. He’s going to use his gift for rhythm to beat his phobia. Age eligibility: 5+

FESTIVALS AND AWARDS

FICTION

SPECIAL AWARD, SEOUL INTERNATIONAL CARTOON AND ANIMATION FESTIVAL

Hugues Valin studied animation at Ecole Estienne in Paris. He will continue to study animation at the world-renowned MoPA in Arles.

INDIA PREMIERE

MIRJAM MARKS

THE GIRL OF 672K (HET MEISJE VAN 672K)  DUTCH  THE NETHERLANDS h 18’ G 2016

Annegien is a 15-year-old from Utrecht, with a massive Instagram following of 672,000 people. How will this success affect and impact Annegien, her pictures and her dreams? Age eligibility: 12+

FESTIVALS AND AWARDS

DOCUMENTARY ASIA PREMIERE

TIFF KIDS (IN COMPETITION) | CINEKID FESTIVAL | CHICAGO INTERNATIONAL CHILDREN’S FILM FESTIVAL (2016)

Mirjam Marks is the Head of Television for Cinekid Festival. She’s made several documentaries and has been working with children and youth for many years. Her filmography includes Spotlight on Merna (2016) and The Qi of China (2013).

THE HAND OF FRIENDSHIP T H E B E ST O F K I D - F R I E N D LY C I N E M A

C o m e ! Le t U s B e Fr i e n d s G o o d bye, C h i l d re n Owls & Mice Flying Rats Halim Mukand And Riaz The Cloud and the Whale T h e Re d B a l l o o n To f fe e

GOPI DESAI

COME! LET US BE FRIENDS (MUJHSE DOSTI KAROGE?)

 HINDI

 INDIA

h 96’

G 1992

FICTION

DIRECTOR GOPI DESAI STORY/SCREENPLAY GOPI DESAI, SANDEEP PENDSE CINEMATOGRAPHER ASHOK MEHTA

CAST SALIM AMROHI, IRRFAN KHAN, AMIT PHALKE, HABEEB TANVEER, HENCY THAKAR PRODUCER CHILDREN’S FILM SOCIETY OF INDIA

EDITOR RENU SALUJA

Nine-year-old Gul Hasan lives in the desert of Rann of Kutch. Its extreme variations of temperature, absence of water, open sandy plains with no vegetation, sand storms and cracked and parched earth, provide the inert background to Gul’s dreams, hopes and aspirations. The natural environment along with urban and modern influences and happenings have a great impact on his mind, and become take-off points for his fantasies. Gul’s journey slips from reality to fantasy to reality. Age eligibility: 8+

FESTIVALS AND AWARDS

FILMOGRAPHY My Little Devil (1999), Bas Yaari Rakho (2000)

NATIONAL AWARD FOR BEST CHILDREN’S FILM | INDIAN PANORAMA, FESTIVAL OF INDIA

INTERNATIONAL FILM

Gopi Desai studied acting in both Film and Television Institute of India and the National School of Drama. She has made programs for women and children at the Indian Space Research Organisation (ISRO). She is a member of the Sangeet Natak Academy and has acted in many plays. She has made several documentaries and has assisted many directors like Jahnu Barua, Ketan Mehta, Mahesh Bhatt and Ramesh Sippy among others. Mujhse Dosti Karoge? was her debut feature.

LOUIS MALLE

GOODBYE, CHILDREN (AU REVOIR LES ENFANTS)

 FRENCH

 FRANCE, GERMANY

h 104’

G G AU M O N T

1987

FICTION

DIRECTOR LOUIS MALLE STORY/SCREENPLAY LOUIS MALLE CINEMATOGRAPHER RENATO BERTA EDITOR EMMANUELLE CASTRO SOUND DESIGN JEAN-CLAUDE LAUREUX CAST GASPARD MANESSE, RAPHAEL FEJTÖ,

PHILIPPE MORIERGENOUD, FRANCINE RACETTE PRODUCERS LOUIS MALLE PRODUCTION COMPANY NOUVELLES ÉDITIONS DE FILMS, MK2 PRODUCTIONS SALES AGENT GAUMONT

FESTIVALS AND AWARDS

Age eligibility: 14+ Advisory: This film contains sexually explicit language.

GOLDEN LION | VENICE FILM FESTIVAL

Louis Malle (1932-1995) was one of France’s most renowned directors. After film school, he worked as an assistant to filmmaker Robert Bresson and co-directed the documentary Le Monde Du Silence (1956) with underwater explorer Jacques-Yves Cousteau. He became known for the variety and breadth of his work as a filmmaker, both in fiction and documentary, as well as its frequently controversial subject matter.

HALF TICKET

FILMOGRAPHY Elevator to the Gallows (1957), The Lovers (1958), Zazie Dans Le Metro (1960), Murmurs of the Heart (1971), Atlantic City (1980)

It’s 1944, France is under German occupation. In a Catholic boarding school, there are three new boys in Julien’s class. After a rough start, Julien becomes good friends with one of them, Jean. As they grow closer, Julien learns Jean and the other two newcomers are Jews who have been given asylum by the kindly Catholic headmaster. But with the Gestapo knocking on their doors, are Jean and two boys really safe in the school? Based on actual events from Louis Malle’s childhood, this film is considered among his best work.

225

S I M O N E VA N D US S E L D O R P

OWLS & MICE (UILENBAL)

 DUTCH

 THE NETHERLANDS

h 80’

G 2016

FICTION INDIA PREMIERE

DIRECTOR SIMONE VAN DUSSELDORP STORY/SCREENPLAY SIMONE VAN DUSSELDORP CINEMATOGRAPHER TON PETERS EDITOR PETER ALDERLIESTEN SOUND DESIGN PETER FLAMMAN, WART WAMSTEKER

CAST HIBA GHAFRY, JASHAYRA OEHLERS, FELIX VAN DE WEERDT, MATHEU HINZEN, BIRGIT SCHUURMAN PRODUCERS EVA EISENLOEFFEL, JOOST DE VRIES, LEONTINE PETIT PRODUCTION COMPANY LEMMING FILM, VPRO SALES AGENT ATTRACTION DISTRIBUTION

FESTIVALS AND AWARDS FILMOGRAPHY Diep (2005), Kikkerdril (2009), Briefgeheim (2010), Het Level Volgens Nino (2015)

Eight-year-old Meral has just moved into a new town. She tries to make friends at her new school, but this is harder than expected. At home, she befriends a little mouse that lives in her new room. She names it Peepeep. Afraid that her parents will kill Peepeep while she is away, she secretly takes him with her to autumn camp. Thanks to Peepeep, Meral makes some new human friends there. Then an owl catches the little mouse, and Meral blames her new friends. They try to help her and when all of them set out into the wild to find Peepeep, Meral finally understands what friendship is about. Age eligibility: 8+

CINEKID | BERLINALE GENERATION KPLUS | ZLIN

Simone van Dusseldorp studied photography at the Dutch Academy of Art and Design St Joost, audiovisual communication at the Gerrit Rietveld Academie, and then directing at the Netherlands Film Academy in Amsterdam. Her graduation film, Waterlanders (1994), won the first prize at the International Short Film Festival, Oberhausen. Her debut feature film was Diep (2005).

EMIEL SANDTKE

FLYING RATS (VLIEGENDE RATTEN)  DUTCH  BELGIUM h 18’ G 2016

Kian and Nadir see Nadir’s family being arrested by the immigration police. To save Nadir from that fate, the friends decide to run away. But leaving seems to be more difficult than they expected. Contains some abusive language. Age eligibility: 12+

FICTION ASIA PREMIERE

Emiel Sandtke is a filmmaker, actor, writer and presenter.

WERNER FIEDLER

HALIM  GERMAN  AUSTRIA h 30’ G 2016

Elias is a shy boy who likes to talk to his bird rather than playing with other kids. When he meets the quirky artist and refugee Halim, a tender friendship develops between them. Age eligibility: 10+

FICTION

Werner Fiedler is a filmmaker, cinematographer and editor.

NINA SABNANI

MUKAND AND RIAZ  ENGLISH  INDIA h 8’ G 2005

Mukand was 14 when he waved goodbye to his friend Riaz during the Partition. This is a story of fragmented memories and friendship. Age eligibility: 5+

HALF TICKET

FICTION

Nina Sabnani is an artist and storyteller who uses film, illustration and writing to tell her stories. She is currently Professor at the Industrial Design Centre, IIT Mumbai. 227

ALYONA TOMILOVA

THE CLOUD AND THE WHALE  RUSSIA h 3” G 2016

This is the story of a small cloud and a big whale. Age eligibility: 5+

Alyona Tomilova has been making short films since she was a student and many of them have been screened at international festivals to much acclaim.

FICTION ASIA PREMIERE

ALBERT LAMORISSE

THE RED BALLOON (LE BALLON ROUGE)  FRENCH  FRANCE h 38’ G 1956

A boy finds a red balloon tied to a streetlight. From then on, the balloon follows him everywhere in the streets of Paris. This film won the Oscar for Best Original Screenplay in 1957 and the Palme d’Or for Best Short Film at Cannes Film Festival. Age eligibility: 5+

FICTION

Albert Lamorisse (19221970) was a French filmmaker, film producer, and writer, who is best known for his awardwinning short films and for inventing the strategic board game Risk in 1957.

TA H I R A K AS H YA P

TOFFEE  HINDI  INDIA h 18’ G 2017

Two 10-year-old girls, Tanya and Ritu, belong to different strata of society, but every day, they sit together to wrap toffees in Ritu’s small home. Age eligibility: 8+

FICTION WORLD PREMIERE

Tahira Kashyap is a filmmaker, author and theatre director. This is her first project as a film writer and director.

THE NEW MEDIUM A N A LT E R N AT E C I N E M A

Flashback T h e S o c i e ty O f T h e S p e c t a c l e The Giant Leve l F i ve T h e S p e c i a l i s t : Po r t ra i t O f A M o d e r n C r i m i n a l S p e c t re s O f T h e S p e c t r u m Lo s A n ge l e s P l a ys I t s e l f D o m e s t i c To u r i s m I I U n i t e d Re d A r m y Fu k u s h i m a Tr i l o g y Fro m G u l f To G u l f To G u l f D re a m s Re w i re d A Tra i n A r r i ve s At T h e S t a t i o n

TWENTY-THREE

DISCOVERING INDIA

H o u r O f T h e Fu r n a c e s

SHAINA ANAND

Shaina is a filmmaker and artist. She has been working independently in film and video since 2001, first as ChitraKarKhana, and from 2007, as part of CAMP, a collaborative studio that she co-founded with Ashok Sukumaran. Her primary concerns are in producing images in a way that customary roles of subject, author and technology devolve to produce new arrangements and agencies. As CAMP, they have been producing provocative new work in video and film, electronic media, and public art forms sustaining long duration and sometimes large-scale artistic work. From their home base in Chuim village, Mumbai, they host the online archives, https://Pad.ma and https://Indiancine.ma, and the Mankhurd community space, R and R among other activities. Their artworks have been exhibited extensively at prestigious venues and events, like Tate Modern and Documenta. The New Medium was conceptualised by Shaina.

THE NEW MEDIUM II: FOOTAGE FILMS

L

et us recall a sequence from Man with the Movie Camera (1929) which opened The New Medium program last year, accompanied by live music. Elizaveta Svilova, the editor of the film is on the cutting table. Behind her is a grid of box drawers and shelves. She rolls up pieces of film, labels the shots, and places them into the grid: A database. We see the film take shape in front of our eyes. Edition two of The New Medium begins here. Footage. That films are made of footage seems obvious. But in the films we are about to see, any simple relation between footage and film is exploded into a multitude of relations between photographers, editors, narrators and materials. It is a struggle to tame or ride this multiplicity, which is at the heart of cinema. Found Footage. In art history, a found-object is something that the artist found, that existed as is, not created by the artist. The artist then crafted it and its meaning into something else. In filmmaking, the term Found Footage can be misleading. In every film that you will see in this programme, the artists did not just chance upon the footage they used - they were actively looking for it. There was method, madness and rigour at every stage of its seeking and crafting. We prefer to call this genre Footage Film, and are looking forward to bring you 14 formally unique films; and three live, performative events that exemplify this quality in film.

The Giant (1983) by Michael Klier is the first film ever to comprise almost entirely of images from surveillance cameras. CCTV was then a new medium proliferating in societies in the Western world, but Klier shows us what it looked like from inside. Chris Marker’s Level Five (1995) anticipates contemporary Internet and virtual reality, as it embarks on a mind-boggling videogame caper, transforming an old Macintosh into a timetravelling excavation of the Battle of Okinawa. The trial of the Nazi Adolf Eichmann in 1961 was held on a

The year 2011 was also that of the Fukushima disaster. Philippe Rouy downloaded hours of live-cam, robot and drone feed from the Tokyo Power Corporation’s own website, assembling the images into a chilling document of our times as witnessed in his Fukushima Trilogy. Meanwhile in the Arabian Sea, a group of sailors, in friendship and collaboration with the Mumbai-based artist group CAMP, create From Gulf to Gulf to Gulf (2013), a travelogue born in many countries and across many video formats, while paying some beguiling tributes to regional cinema and music. As tributes to both cinema and cities go, Thom Andersen’s Los Angeles Plays Itself (2003) is a voluminous essay film on the world’s most frequently-filmed metropolis. Diverse film scenes culled from 60 years of Egyptian cinema, each featuring the pyramids of Giza in the background lend structural form and content to Domestic Tourism II (2011), by Maha Maamoun. Thom Andersen offers her film a generous pairing with his playful A Train Arrives at the Station (2016). Two films look back at the promises of new media technologies. Spectres of the Spectrum (1999) – its title acknowledging The Society of the Spectacle – is an “allegory about electromagnetic autonomy in the face of massive media conglomeration”, in which Craig Baldwin crafts a trippy optical-printing sci-fi from 1950’s American TV shows and popular films. Dreams Rewired (2015), a collaborative work by Manu Luksch, Martin Reinhart and Thomas Tode is a mediaarchaeological dig into mostly-unseen films from the 1880s to 1930s, taking us back to when old technologies were new, and presenting us with ‘what could have been’. Finally, we pay homage to SNS Sastry, in-house maverick of Films Division with Flashback (1974), a footage film commemorating the 25th anniversary of what is now a living archive on Peddar Road. The opening weekend includes three live, Footage Films events: Kamal Swaroop and collaborators on a 30-year archival and imaginary journey called Tracing Phalke. And From the Mediastorm, in person and through unseen films, India’s first and only all-woman documentary collective. We open the program with CAMP’s CCTV Landscape of Lower Parel, a 200-year neighbourhood story and live immersive experience inside the cinema hall.

THE NEW MEDIUM

We begin with the The Hour of The Furnaces (1968), the film that gave rise to the Third Cinema manifesto. A cinema that was not Hollywood, nor European auteur-driven avant-garde. Third Cinema was to be collective low-budget acts, utilising existing film clips, newsreels, state propaganda, guerrilla film footage, photographs, texts and poems, and direct cinema, to develop an original and experimental formal language whose means would serve a greater common end, in this case a revolutionary one. And while this mother of collage films was being edited clandestinely by the Group Cine Liberation in Argentina, in Paris, the Situationist Guy Debord was publishing his critical theory on The Society of the Spectacle, as a book. A few years later it would become a film, hijacking images of soft porn, fashion adverts, news broadcasts and film clips from around the world, turning them into a Marxist revolt on silent consumption and alienation in modern society. These two energetic and didactic footage films, one from the South and the other from the North, lay down a theory-praxis for working with existing footage, by transforming the original intent and meaning into something provocative, critical and new.

film set, shot with multiple cameras and edited live in the new medium of its time — video. Thirty-five years later, Eyal Sivan salvaged the footage to bring us The Specialist: Portrait of a Modern Criminal (1999). In 1977, the Red Army hijacked a Japan Airways plane, forcing a landing at Dhaka airport; the hostage-drama was transmitted live and non-stop to homes in Bangladesh, even as a dramatic sub-plot was developing on the side. Combining material from BTV, NHK Japan’s archives with audio recordings of the negotiations made by the Bangladesh military, Naeem Mohaiemen crafted his first feature, United Red Army in 2011.

F E R N A N D O S O L A N O S , O C TAV I O G E T I N O

HOUR OF THE FURNACES (LA HORA DE LOS HORNOS)

 SPANISH

 ARGENTINA

h 260’

G 1968

THIRD CINEMA FOOTAGE FILM

DIRECTOR FERNANDO SOLANOS AND OCTAVIO GETINO

MUSIC ROBERTO LAR, FERNANDO E. SOLANAS

SCREENPLAY FERNANDO SOLANOS AND OCTAVIO GETINO

PRODUCER GRUPO CINE LIBERACION

CINEMATOGRAPHER JUAN CARLOS DESANZO, FERNANDO E. SOLANAS

PRODUCTION COMPANY GRUPO CINE LIBERACION

EDITOR JUAN CARLOS MACÍAS, ANTONIO RIPOLL, NORMA TORRADO

FESTIVALS AND AWARDS FILMOGRAPHY (Solanas) La dignidad de los nadies (2005), Memoria del saqueo (2004), El Viaje (1992), Sur (1988), El exilio de Gardel (Tangos) (1985)

This film provided a model and theoretical foundation for a formally avant-garde Third Cinema. According to the manifesto Towards a Third Cinema, ‘First Cinema’ is the Hollywood production model which produces escapist spectacles containing bourgeois values. ‘Second Cinema’ is the European art film, which rejects Hollywood conventions but is still centered on the individual expression of the auteur director. Third Cinema sees the director as part of a collective, unifying theory and praxis. Described by film critic Nicole Brenez as “an act of courage, and the origin of several contemporary image practices.” A chorus of images and texts, the film deploys a dazzling variety of audiovisual techniques, ranging from collage, direct cinema, flash frames and animation; from classical music to anglophone pop hits. An open, “imperfect”, text that would function as an interlocutor in a broader dialogue about neocolonialism, and the possibilities for third-world liberation. BEST FILM PRIZE, DIRECTORS’ FORTNIGHT | CANNES FILM FESTIVAL BEST FOREIGN FILM | BRITISH FILM INSTITUTE

Fernando Solanas and Octavio Gettino were members of the Grupo Cine Liberación and co-wrote the Towards a Third Cinema, the manifesto that inspired the influential Third Cinema film movement of the late 1960s in Latin America. The films made were to be screened clandestinely to avoid censorship as well as commercial networks, and also so that the viewer took a risk to see them. Post-film, discussion, drinks and debate are a necessary part of the transformative experience.

SNS SASTRY

FLASHBACK  HINDI, ENGLISH

 INDIA

h 21’

G 1974

DOCUMENTARY FOOTAGE FILM

DIRECTOR SNS SASTRY SCREENPLAY SNS SASTRY, HS NAGARAJA SHARMA CINEMATOGRAPHER MS PENDURKAR EDITOR MN CHAUBAL

CAST JOHN GRIERSON, EZRA MIR, S SUKHDEV, INDIRA GANDHI PRODUCERS FILMS DIVISION PRODUCTION COMPANY FILMS DIVISION

Made a year before the Emergency, Flashback was commissioned by Films Division to commemorate its 25th anniversary. Sastry, with his ever-surprising style, turns this ‘history of’ film into a joyous mix, bringing archival film footage, documentation of Films Division’s infrastructure, and the musings of John Grierson, Ezra Mir, S Sukdhev and himself together, to tussle with the role of documentary cinema. Today, the unprecedented access to archives like that of Films Division is an open invitation to ‘flashback’ and reassemble the past.

SOUND TA JAGANNATHAN

THE NEW MEDIUM

FILMOGRAPHY This Bit of That India (1975), Naya Daur (1975), The Burning Sun (1973), Yes It’s On (1972), Keep Going (1971), Amir Khan (1970), And I Make Short Films (1968),

SNS Sastry (1930–1978) was among Films Division’s most celebrated filmmakers. In the early 1950s, he joined Films Division as a cameraman after studying cinematography at Bangalore Polytechnic, and started directing films in 1956. Over 20 years, he made approximately 45 films for Films Division. Despite making State-commissioned films, Sastry’s work was characterised by irreverence and subversion.

235

GUY DEBORD

THE SOCIETY OF THE SPECTACLE (ENGLISH OVERDUB, LA SOCIÉTÉ DU SPECTACLE)

 FRENCH

 FRANCE

h 88’

G 1973/ 2015

ESSAY FILM FOOTAGE FILM

DIRECTOR GUY DEBORD, ENGLISH OVERDUB: KONRAD STEINER SCREENPLAY GUY DEBORD

CAST FIDEL CASTRO, RICHARD NIXON, JOSEPH STALIN, ZEDONG MAO, ADOLF HITLER, HENRY KISSENGER

TRANSLATION KEN KNABB

NARRATION DORE BOWEN

EDITOR MARTINE BARRAQUÉ

PRODUCERS MARCEL BERBERT

MUSIC MICHEL CORRETTE

PRODUCTION COMPANY SIMAR FILMS

FESTIVALS AND AWARDS

FILMOGRAPHY Refutation of All Judgments (1975), Critique of Separation (1961),

“The Spectacle, is not a collection of images, but a relationship among people mediated by images.” This feature-length film essay is Guy Debord’s own adaptation of his influential work of cultural and political history and theory. In it, Debord uses a strategy the Situationists called detournement, which translates to ‘rerouting’ or ‘hijacking’, by using visuals from feature films from “East” and “West,” newsreel footage, ads that look like soft-core porn, and softcore porn that looks like ads, subtitles and other devices. The Society of the Spectacle, both as text and film, remains one of the great theoretical works on modern-day capital, cultural imperialism.

VENICE | ROTTERDAM

Guy Debord (1931 – 1994) was a French Marxist theorist, philosopher, filmmaker, member of the Letterist International, and founding member of the Situationist International. Debord spearheaded radical critiques of life in modern society. His handful of films are considered the earliest attempts at a radical use of the medium. As early as 1952, his films waged an organised attack on cinema as the medium of the ruling class.

MICHAEL KLIER

THE GIANT (DER RIESE)

 GERMAN

 USA

h 83’

G 1983

FOOTAGE FILM INDIA PREMIERE

SCREENPLAY MICHAEL KLIER EDITOR MICHAEL KLIER SOUND DESIGN MICHAEL KLIER PRODUCER MICHAEL KLIER

FESTIVALS AND AWARDS FILMOGRAPHY Alter und Schönheit (2009), Out of America (1995), Godards Kameramänner (1981)

THE NEW MEDIUM

The Giant looks over the city, moving his eyes up and down streets, lakes, beaches, highways, shopping malls, the airport and the railway station. He watches over bank transactions, keeps an eye on private homes, follows youth, dogs and pigeons, and participates in police trainings and protests; a guardian of property. Yet, the Giant is not very intelligent, Harun Farocki tells us, while noting the profound influence this film had on his own practice. This is the first film to be made entirely of surveillance images. Klier drove around Berlin and Hamburg for over a year, capturing this new medium, a world of operational and excess images, and set them to music by Rachmaninov, Wagner, Khachaturian and jazz. The philosopher Paul Virilio and film critic James Hoberman consider it among the ten best films of all time.

DIRECTOR MICHAEL KLIER

GRAND PRIX, SECOND INTERNATIONAL VIDEO FESTIVAL, MONTBELIARD, 1984 | PERMANENT COLLECTION, MUSEUM OF MODERN ART AND CENTRE POMPIDOU

Michael Klier (born 1943) studied Philosophy and History, and acted in several films by Harun Farocki and Rudolf Thome (among others) before becoming a director. His first film Der Riese (1983), a video documentary about video surveillance, won several international prizes. Thereafter, he developed his artistic signature with films such as Ueberall ist es besser, wo wir nicht sind (1989), Ostkreuz (1991), the documentary Out of America (1995) and Heidi M (2001). He has also directed a series of film portraits about François Truffaut, Jean-Luc Godard, Henri Alekan, Juliette Binoche and others. 237

CHRIS MARKER

LEVEL FIVE

 FRENCH

 FRANCE

h 106’

G 1997

DOCU FICTION INDIA PREMIERE

DIRECTOR CHRIS MARKER SCREENPLAY CHRIS MARKER CINEMATOGRAPHER CHRIS MARKER

CAST CATHERINE BELKHODJA, NAGISA OSHMIMA PRODUCERS ANATOLE DAUMAN, FRANÇOISE WIDHOFF

EDITOR CHRIS MARKER MUSIC MICHEL KRASNA

ACKNOWLEDGEMENTS FILMOGRAPHY Sans Soleil (1983), A Grin Without a Cat (1977), Le Joli Mai (1963), La Jetée (1962)

After her lover dies, Laura decides to complete his life’s work: a video game about Battle of Okinawa, from World War II. The game, which is more like a database, pays special attention to one island where nearly 400 villagers committed mass suicide after the Japanese Imperial Army was defeated in surrounding islands. This fictional documentary has just one human actor immersed in a virtual world. Made in 1997, long before an interactive internet was as normal as it is today, this film is almost prophetic in the way it imagines technology informing our lives and the way we understand the world.

BERLINALE | CINE//B FILM FESTIVAL

Chris Marker (1921-2012) was one of the most innovative filmmakers to emerge during the postwar era. Working primarily in the arena of non-fiction, rejected conventional narrative techniques, staking out a deeply political terrain defined by the use of archival material, still images, atmospheric soundtracks, and literate commentary. Influenced by the Third Cinema movement, Marker setup SLON (Society for the Advancement of New Works), and worked collaboratively for many years.

E YA L S I VA N

THE SPECIALIST: PORTRAIT OF A MODERN CRIMINAL  HEBREW, GERMAN

 GERMANY, FRANCE, BELGIUM, ISRAEL, AUSTRIA

h 128’

G 1999

DOCUMENTARY FOOTAGE FILM

DIRECTOR EYAL SIVAN SCREENPLAY RONY BRAUMAN, EYAL SIVAN CINEMATOGRAPHER LEO HURWITZ

CAST ADOLF EICHMANN, ROBERT SERVATIUS, GIDEON HAUSNER, GABRIEL BACH PRODUCERS EYAL SIVAN, ARMELLE LABORIE

EDITOR AUDREY MAURION MUSIC NICOLAS BECKER

FILMOGRAPHY Common State, Potential Conversation (2012), Jaffa, The Orange’s Clockwork (2009), I Love You All (2004), Route 181 (2003)

THE NEW MEDIUM

FESTIVALS AND AWARDS

When Adolf Eichmann, one of those responsible for the Holocaust, was charged with crimes against humanity, he described himself as a bureaucrat doing his job. Deliberately designed as a spectacle, Eichmann’s hearings are the only example of a Nazi criminal’s trial filmed in its entirety. Four cameras were concealed behind fake partitions in the auditorium transformed into a courtroom. A live edit was recorded by the Hollywood director Leo Hurwitz, by a revolutionary technique for the time: video. Eyal Sivan had to struggle with the Israeli archives for access to the material. With approximately 150 hours missing and the remaining, uncatalogued and in stages of disintegration, filmmaker turned archivist, and also ensured that the salvaged footage entered the public domain for use by others before he completed his film. BEST FRENCH DOCUMENTARY, SCAM (FRENCH AUTHORS SOCIETY) | ADOLF GRIMME GOLDEN PRICE | FRANCE CINEMA PRIZE | THE VATICAN 3RD MILLENNIUM PRIZE

Eyal Sivan is documentary filmmaker and theoretician. Sivan’s films are regularly exhibited in art exhibitions, including Documenta and Manifesta. His work touches on such themes as the representation of political crime; the political use of memory and the ethics of documentary filmmaking. He created South Cinema Notebooks, a journal of cinema criticism published by the Sapir Academic College. He teaches media and film ethics, production and theory at a number of universities in Europe.

239

CRAIG BALDWIN

SPECTRES OF THE SPECTRUM  ENGLISH

 USA

h 92’

G 1999

SCIENCE -FICTION ASIA PREMIERE

DIRECTOR CRAIG BALDWIN SCREENPLAY CRAIG BALDWIN CINEMATOGRAPHER BILL DANIEL EDITOR BILL DANIEL

CAST SEAN KILCOYNE, CAROLINE KOEBEL, BETH LISICK PRODUCERS CRAIG BALDWIN SALES COMPANY OTHER CINEMA, SF, CA, USA

SOUND DESIGN GIBBS CHAPMAN

ACKNOWLEDGEMENTS FILMOGRAPHY Mock Up On Mu (2017), Sonic Outlaws (1995), ¡O No Coronado! (1992), Tribulation 99 (1991)

Imagining 2007 as a dystopic future era, a time and place that can only be reached through an “electromagnetic wormhole” of television footage. Using old ‘kinescopes’ (filmed records of early TV broadcasts from before the advent of videotape), the film creates create an eerie, haunted ‘media-archaeology’ zone for a sci-fi time-travel tale in which live-action actors search for a hidden electromagnetic secret to save the planet from a futuristic war-machine. Not only does the film offer a history of broadcasting, but it’s also an alternate history of the twentieth century.

WHITNEY BIENNIAL | BALTIMORE MICROCINEMA WAY-COOL AWARD

Craig Baldwin is an American experimental filmmaker. He uses “found” footage from the fringes of popular consciousness as well as images from the mass media to undermine and transform the traditional documentary. He established Other Cinema, a film program series he has been curating for 32 years in San Francisco, which promotes and distributes the work of both emerging and established artists working in the style of cinema povera.

THOM ANDERSEN

LOS ANGELES PLAYS ITSELF  ENGLISH

 USA

h 170’

G 2003, 2013

ESSAY FILM FOOTAGE FILM INDIA PREMIERE

DIRECTOR THOM ANDERSEN

PRODUCERS THOM ANDERSEN

WRITER THOM ANDERSEN CINEMATOGRAPHER DEBORAH STRATMAN EDITOR YOO SEUNG-HYUN CAST ENCKE KING (NARRATOR)

FILMOGRAPHY A Train Arrives at the Station (2016), The Thoughts That Once We Had (2015), Get Out Of The Car (2010), Red Hollywood (1996)

THE NEW MEDIUM

FESTIVALS AND AWARDS

A touchstone of early 21st century cinema, Andersen’s magnum opus examines how Los Angeles has been depicted in an impressively wide range of films — Hollywood blockbusters, low-budget genre pictures, independent, experimental and even pornographic movies. This film essay maps scene after scene of the fictional City of Angels upon the actual one, exploring former film locations both through ‘repurposed’ Hollywood snippets and contemporary footage shot by filmmaker and artist Deborah Stratman. It shows how Los Angeles evolved from being just a setting for films to a vivid cinematic character and sometimes even becoming the subject, like in Chinatown. Parallel to this runs a dense mosaic of film criticism that recognises and holds up to the audience how films can record society and culture as well as be propaganda machines. BEST DOCUMENTARY VANCOUVER INTERNATIONAL FILM FESTIVAL | BEST DOCUMENTARY, VILLAGE VOICE CRITICS POLL | TOP TEN FILMS OF THE DECADE, CINEMA SCOPE CRITICS’ POLL

Thom Andersen has lived much of his life in Los Angeles, where he teaches at the prestigious California Institute of the Arts, and is one of the US’s foremost film essayists. Andersen’s time is divided between scholarship, teaching, and filmmaking.

241

MAHA MAAMOUN

DOMESTIC TOURISM II

 ARABIC

 EGYPT

h 62’

G 2009

FOOTAGE FILM INDIA PREMIERE

Exploring the representation of the pyramids of Giza in Egyptian cinema over six decades, this film analyses how these iconic historical monuments have been used and what they’ve symbolised. The film employs a pyramidic structure of its own, starting in the 21st century and going back to images from the Nineties, then Eighties, Seventies, Sixties and Fifties, before ascending again to the Sixties, Seventies, Eighties, Nineties and 2000s. From the “timelessness” of the tourist postcard and re-inscribed into the complex and dynamic political, social, and historical narratives of the city of Cairo, what do the pyramids stand for in Egyptian society?

DIRECTOR MAHA MAAMOUN SUBTITLES BY MOHAMED RADWAN, MANAR AMMAR EDITOR LOULY SEIF PRODUCERS CONTEMPORARY IMAGE COLLECTIVE - PHOTO CAIRO 4 & SHARJAH BIENNIAL 9

FESTIVALS AND AWARDS

FILMOGRAPHY Dear Animal (2016), Shooting Stars Remind Me of Eavesdroppers (2013), Night Visitor: The Night of Counting the Years (2011), 2026 (2010)

SHARJAH BIENNIAL – JURY PRIZE | FRIDERICIANUM KASSEL | SALT ISTANBUL | ICA LONDON | GWANGJU BIENNIAL

Maha Maamoun is a Cairo-based Egyptian artist. Her work examines the form, function and currency of common cultural visual and literary images as an entry point to investigating the cultural fabric that we weave and into which we are woven. She cofounded the independent publishing platform called Kayfa-ta in 2013 and is a founding board member of the Contemporary Image Collective (CiC), an independent non-profit space for art and culture founded in Cairo in 2004.

NAEEM MOHAIEMEN

UNITED RED ARMY (SHOMMILITO LAL BAHINI)

 ENGLISH, BENGALI, JAPANESE

 BANGLADESH, USA

h 70’

G 2011

NON-FICTION FOOTAGE FILM

DIRECTOR NAEEM MOHAIEMEN

SOUND DESIGN MARCELO ANEZ

SCREENPLAY NAEEM MOHAIEMEN

MUSIC KAFFE MATHEWS

CINEMATOGRAPHER GOLAM MOSTAFA, TWO UNNAMED BTV CAMERAMEN, UNNAMED NHK CAMERAMEN

CAST AG MAHMUD, DANKESU

EDITOR NAEEM MOHAIEMEN

PRODUCERS SHOBAK SALES COMPANY EXPERIMENTER (KOLKATA)

FILMOGRAPHY Two Meetings and a Funeral (2017), Tripoli Cancelled (2017), Abu Ammar is Coming (2016), Last Man in Dhaka Central, The Young Man Was, Part 1, 2, 3 (2015)

THE NEW MEDIUM

FESTIVALS AND AWARDS

On September 28th 1977, the Japanese Red Army hijacked Japan Airlines’s Flight 472 to Dhaka. This film covers the six days of negotiations between hostage negotiator Mahmud in the control tower of the airport and lead hijacker (codename: Dankesu) in the cockpit of the airplane. The audio was recorded by military intelligence and contains intense exchanges oscillating between trust and betrayal. Bangladesh’s BTV with the help of the Japanese Embassy, did a never-before live transmission of the hostage crisis. An 8-year old watched all this unfurl on his TV set in Dhaka while waiting for an episode of the British spy thriller Zoo Gang, While all eyes are on this hijack drama, other bloody events begin to unfold, which will have devastating effects on the young nation. MUSEUM OF MODERN ART | HOT DOCS | INTERNATIONAL DOCUMENTARY FILM FESTIVAL AMSTERDAM | SHARJAH BIENNIAL | TATE MODERN

Naeem Mohaiemen is an artist and writer who combines films, installations, and essays to research failed left utopias, incomplete decolonizations, and tragic misrecognition of allies. A hope for an as-yet unborn global left, is an ideological basis for his work. He is a PhD candidate at Columbia University and a Guggenheim Fellow. His works have been exhibited worldwide, most recently at Documenta 14.

243

PHILLIPE ROUY

FUKUSHIMA TRILOGY

(4 BUILDINGS FACING THE SEA, MACHINE TO MACHINE, FOVEA CENTRALIS)  ENGLISH, JAPANESE

 FRANCE

h 47’ + 32’ + 50’

G 2012, 2013, 2014

FOOTAGE FILM NON-FICTION ASIA PREMIERE

Three months after the meltdown at the Fukushima Daiichi Nuclear Power Plant, a live-cam was installed on site and its recordings were available online. Four Buildings Facing the Sea is made entirely from this footage and shows earthquakes, toxic mists, radioactive rains, and a defiant performative intervention made by an anonymous worker towards the camera. In Machine to Machine, drones, robots and cranes journey into the heart of an indomitable radioactive magma, filming for the benefit of human beings. Fovea Centralis uses the fraction of the censored and blurred video conferences held in the weeks following the disaster that were released, combining it with text from Shohei Imamura’s 1967 film, A Man Vanishes.

DIRECTOR PHILLIPE ROUY SCREENPLAY PHILLIPE ROUY EDITOR PHILLIPE ROUY SOUND DESIGN PHILLIPE ROUY PRODUCERS PHILLIPE ROUY

ACKNOWLEDGEMENTS FILMOGRAPHY 1862 (2011), La Voûte (2010), Hypn (2009), Cheval Blême (2009), Au fur que tu perdras la vue (2008)

FID MARSEILLE | FILMMAKER FESTIVAL, CINÉMA SPOUTNIK, DOKFILMWOCHE

Philippe Rouy is a filmmaker who lives and works in Paris. Primarily a video artist, his filmography expands to include documentary and essay films. His work has been shown at a variety of international film festivals, such as the International Film Festival Rotterdam, FID Marseille, Cinéma du Réel, and Jihlava IDFF.

CAMP

FROM GULF TO GULF TO GULF (KUTCHI VAHAN PANI WALA)

 KUTCHI, URDU, HINDI, ARABIC

 INDIA, UAE

h 83’

G 2013

DOCUMENTARY FOOTAGE FILM

DIRECTORS SHAINA ANAND AND ASHOK SUKUMARAN

EDITOR SREYA CHATTERJEE SOUND DESIGN AMALA POPURI, BINIL C AMAKKADU PRODUCER CAMP

FESTIVALS AND AWARDS FILMOGRAPHY Capital Circus (2014), From Gulf to Gulf to Gulf (2013), Hum Logos (2012), Al Jaar Qabla Al Daar/ The Neighbour Before the House (2011), The Country of the Blind and Other Stories (2011)

From Gulf to Gulf to Gulf is a result of four years of dialogue, friendship and exchange between CAMP and a group of sailors from the Gulf of Kutch, who both make and sail large wooden boats into international waters. Structured as one season-at-sea, this film uses video in multiple formats filmed over 10 years: S-VHS, Video-8, SD handycam footage, cell-phone videos and HD material shot by both sailors and the filmmakers. Binding the narrative structure of the film are unique examples of musical “cinema ephemera”: single-take videos shot at sea, of one boat filming another, that were found married to songs in-situ on the cell-phone. The film takes us on an exhilarating journey on the edges of ‘world trade’, from the Gulf of Kutch through the Gulfs of Persia and Aden, as far as Mogadishu and Mombasa on the East African coast, and back.

THE NEW MEDIUM

CINEMATOGRAPHER SIDDIK UMAR SANGHAR, MRINAL DESAI, JUNAS SALEMAMAD BHAGAD ASHOK SUKUMARAN, SHAINA ANAND, SULAIMAN HAROON RAJA URF DADA, JABBAR HASSAN CHINGDA, ISMAIL HAROON GHANDHAR, MOHAMMED RAFIK, SULAIMAN WAHAB SUMBHANIA, ABDUL

MAJID CHAUHAN, MEHBOOB ABBAS SANGHAR, HAKIMUDDIN LILYAWALA, AND ANONYMOUS CREATORS OF MUSIC VIDEOS

MOMA | DOCUMENTA 14 | LONDON FILM FESTIVAL | VIENNALLE | SHANGHAI BIENNIAL | IMAGES FESTIVAL, TORONTO

CAMP is a group of artists, filmmakers and enthusiasts based in Chuim Village, Mumbai and working on collective projects since 2007. It combines film, video, installation, software, open-access archives and public programming with broad interests in technology, film and theory. Their artworks have exhibited worldwide including at Skulptur Projekte Munster, Documenta 13 and 14, MoMA and Tate Modern; and at film venues such as the Flaherty seminar and Anthology Film Archives.

245

M A N U L U K S C H , M A R T I N R E I N H A R T, T H O M A S T O D E

DREAMS REWIRED  ENGLISH

 AUSTRIA

h 87’

G 2015

ESSAY FILM FOOTAGE FILM INDIA PREMIERE

DIRECTOR MANU LUKSCH, MARTIN REINHART, THOMAS TODE WRITER MANU LUKSCH, MUKUL PATEL, MARTIN REINHART, THOMAS TODE

SIEGFRIED FRIEDRICH CAST TILDA SWINTON (VOICE) PRODUCERS AMBIENT INFORMATION SYSTEMS

EDITOR OLIVER NEUMANN SOUND DESIGN MUKUL PATEL,

FESTIVALS AND AWARDS

First there was the telephone, then came the cinema in its early avatar, then the wireless and then television. This essay film traces the desires and anxieties of today’s hyper-connected world back more than a hundred years when early new media sparked a fervent utopianism in the public imagination. It promised total communication, the annihilation of distance, an end to war. But then, too, there were fears over the erosion of privacy, security and morality. In a detournement of media archeology, rare (and often unseen) archival material from nearly 200 films from the 1880’s to the 1930’s is used to articulate the present revealing a history of hopes to share, and betrayals to avoid.

BEST FEATURE DOCUMENTARY AWARD, MOSCOW INTERNATIONAL FILM FESTIVAL | JURY AWARD, ANN ARBOR FILM FESTIVAL

Manu Luksch, co-founder of Ambienttv.net, is an intermedia artist and filmmaker who interrogates conceptions of progress and scrutinises the effects of network technologies on social relations, urban space, and political structures. Martin Reinhart’s innovative exploration of film as artistic language is not limited to the making of films – he also develops hardware and processing solutions. Thomas Tode works in Hamburg as freelance writer, curator and filmmaker. He focuses on essay film, the Soviet avantgarde, and political documentary film.

THOM ANDERSEN

A TRAIN ARRIVES AT THE STATION  ENGLISH

 USA

h 15’

G 2016

STRUCTURAL FILM FOOTAGE FILM INDIA PREMIERE

Made up of 26 different scenes of trains arriving into or departing from stations, in different films, this short is an anthology of sorts as well as an ode to a device that has been used by filmmakers all over the world. Director Thom Andersen has chosen scenes from films made between 1904 to 2015. Talking about the film, Andersen said, “Each black and white sequence in the first half rhymes with a colour sequence in the second half. Thus the first shot and the final shot show trains arriving at stations in Japan from a low camera height. So, after all these years, I’ve made another structural film, although that was not my original intention.”

DIRECTOR THOM ANDERSEN SCREENPLAY THOM ANDERSEN EDITOR ANDREW KIM, THOM ANDERSEN

FILMOGRAPHY The Thoughts That Once We Had (2015), Get Out of the Car (2010), Red Hollywood (1996), Eadweard Muybridge, Zoopraxographer (1974)

THE NEW MEDIUM

FESTIVALS AND AWARDS

LOCARNO | VIENNALE

Thom Andersen, was born in Chicago in 1943 but has lived much of his life in Los Angeles, where he teaches at the prestigious California Institute of the Arts, and is one of the US’s foremost film essayists. Andersen’s time is divided between scholarship, teaching, and filmmaking.

247

RESTORED CLASSICS

OLD FILMS MADE NEW

Amar Akbar Anthony Fu n e ra l Pa ra d e o f Ro s e s M o n t e rey Po p Oh Sun! S t a l ke r T h e Tr u t h

MANMOHAN DESAI

AMAR AKBAR ANTHONY

 HINDI

 INDIA

h 168’

G 1977

FICTION

DIRECTOR MANMOHAN DESAI

MUSIC LAXMIKANT PYARELAL

STORY PUSHP RAJ SHARMA

CAST AMITABH BACHCHAN, VINOD KHANNA, RISHI KAPOOR

SCREENPLAY JM DESAI, PRAYAG RAJ, KK SHUKLA CINEMATOGRAPHER PETER PEREIRA EDITOR KAMLAKAR

PRODUCER MANMOHAN DESAI PRODUCTION COMPANY MKD FILMS

FESTIVALS AND AWARDS FILMOGRAPHY Sacha Jhootha (1970), Parvarish (1977), Naseeb (1981), Coolie (1983)

Three brothers are separated at birth and, with a hat-tip to the Nehruvian dream of unity in diversity, one is raised Hindu, another Christian and the third, Muslim. Of course the planets align to reunite the trio and beat the bad guys, with a slight detour in which all three get themselves hitched to three lovely ladies. Amar Akbar Anthony is Bollywood at its best as the film shifts with consummate ease between genres, delivers a hearteningly progressive message promoting secularism, and has fun while doing all this. The negatives of this Bollywood classic were a challenge to restore, damaged as they were by scratches, dust patches and fungus. The soundtrack, which has some of Bollywood’s most beloved songs, also required a lot of work because the audio had to be upgraded from Mono to Surround Sound. FILMFARE AWARDS FOR ACTING, MUSIC AND EDITING

Manmohan Desai (1937-1994) is one of the legends of commercial Hindi cinema and was known as the director with the Midas touch after he released four hit films in 1977 (Amar Akbar Anthony, Parvarish, Dharam Veer, Chacha Bhatija) in a 52-day span. Credited with coming up with a golden formula for ‘masala’ movies, he deftly managed humour, action, romance and the most bizarre twists in his plots. His films played a big part in making Amitabh Bachchan a box-office favourite as it was Desai who gave the actor his legendary ‘angry young man’ image.

T O S H I O M AT S U M O T O

FUNERAL PARADE OF ROSES (BARA NO SŌRETSU)



JAPANESE

 JAPAN

h 107’

G 1969

FICTION INDIA PREMIERE

DIRECTOR TOSHIO MATSUMOTO STORY/SCREENPLAY TOSHIO MATSUMOTO

CAST PETER, OSAMU OGASAWARA, YOSHIO TSUCHIYA, EMIKO AZUMA

CINEMATOGRAPHER TATSUO SUZUKI

PRODUCERS MITSURU KUDO

EDITOR TOSHIE IWASA

PRODUCTION COMPANY ART THEATRE GUILD

SOUND DESIGN MIKIO KATAYAMA

SALES AGENT ARBELOS FILMS

RESTORED CLASSICS

FILMOGRAPHY Demons (1971), The War of the 16 Year Olds (1973), Dogura Magura (1988)

Tokyo in the 1960s — a dazzling, night-world of drag queen bars and fabulous divas, fuelled by booze, drugs, fuzz guitars, performance art and black mascara. Eddie is a transvestite and a hostess at Bar Genet. She’s a stunning presence in bell-bottom pants, a black leather jacket and her Brian Jones hair-do. She is also a direct threat to the social order, both in the Bar Genet and in the streets of Tokyo. There’s a love triangle, struggles with identity and frankly erotic sex scenes punctuated by avant-garde experiments in cinematic storytelling. A key work of the Japanese New Wave and of queer cinema, this portrait of an underground community of drag queens was made decades before its time. This restored version is co-presented by Cinelicious Pics and Cinefamily.

Toshio Matsumoto was a pioneer of Japanese experimental cinema in the 1960s. Matsumoto developed what he coined “neo-documentarism”, which rejected the traditional objective nature of the documentary medium for one that would reveal internal mental states and subjectivities. From the 1970s, he increasingly experimented with video, using devices that alter images and colours, laying out the very processes of image manipulation. Funeral Parade of Roses was Mastumoto’s first feature film.

251

DA PENNEBAKER

MONTEREY POP

 ENGLISH

 USA

h 78’

G 1968

DOCUMENTARY INDIA PREMIERE

DIRECTOR DA PENNEBAKER CINEMATOGRAPHER DA PENNEBAKER, RICHARD LEACOCK, NICK PROFERES, ALBERT MAYSLES, JAMES DESMOND, BARRY FEINSTEIN, ROGER MURPHY

EDITOR NINA SCHULMAN, MARY LAMPSON PRODUCERS JOHN PHILLIPS, LOU ADLER SALES AGENT JANUS FILMS

FESTIVALS AND AWARDS FILMOGRAPHY Primary (1960), Dont Look Back (1967), Sweet Toronto (1971), Ziggy Stardust And The Spiders From Mars (1973), Woodstock Diary (1994)

On a beautiful June weekend in 1967, at the beginning of the Summer of Love, the first Monterey International Pop Festival roared forward, capturing a decade’s spirit and ushering in a new era of rock and roll. Monterey featured career-making performances by Jimi Hendrix, Janis Joplin, and Otis Redding, but they were just a few among a wildly diverse cast that included Simon and Garfunkel, the Mamas and the Papas, The Who, The Byrds, Hugh Masekela, and the extraordinary Pandit Ravi Shankar (accompanied by Ustad Alla Rakha on the tabla). With his characteristic vérité style, DA Pennebaker captured it all, immortalising moments that have become legend: Pete Townshend destroying his guitar, Jimi Hendrix burning his, Shankar’s extraordinary five-minute sitar solo that catapulted him into stardom. Supervised by Pennebaker, this restoration was undertaken by the Criterion Collection with L’immagine Ritrovata and Metropolis Post. VENICE INTERNATIONAL FILM FESTIVAL, 1968

DA Pennebaker is a pioneer in documentary film. Trained as an engineer, he turned to filmmaking in 1953. He was one of the founding members of Drew Associates, which produced documentaries like Primary (1960), the first candid look at what goes into the presidential race. Pennebaker is best known for his musical documentaries, like Dont Look Back (1967) following Bob Dylan’s 1965 concert tour in England.

MED HONDO

OH SUN! (SOLEIL Ô)



FRENCH, ARABIC

 MAURITANIA

h 98’

G 1969

FICTION INDIA PREMIERE

DIRECTOR MED HONDO STORY/SCREENPLAY MED HONDO CINEMATOGRAPHER FRANÇOIS CATONNÉ, JEAN-CLAUDE RAHAGA EDITOR MICHÈLE MASNIER, CLÉMENT MENUET

CAST ROBERT LIENSOL, THÉO LÉGITIMUS, GABRIEL GLISSAND, MABOUSSO LÔ, ALFRED ANOU, LES BLACK ECHOS, AMBROISE M’BIA, AKONIO DOLO PRODUCTION COMPANY GREY FILMS, SHANGO FILMS

FILMOGRAPHY West Indies: The Fugitive Slaves Of Liberty (1979), Sarraounia, An African Queen (1986), Watani: A World Without Evil (1998), Fatima, The Algerian Woman Of Dakar (2004)

RESTORED CLASSICS

FESTIVALS AND AWARDS

In an unnamed French colony in West Africa, black men line up before a white priest for baptism and renaming — the first step in a process that simultaneously deracinates and subjugates them. In France, colonial blacks, arrive to seek a better life and find only unemployment or a handful of ‘dirty’ jobs, bad living conditions, racism, and bureaucratic indifference. From the stylised and surreal opening sequences to the episodic adventures of a particular man, the director presents a series of imaginative set pieces, linked by voiceover narrative, that investigate and dramatise a complex of interrelated themes. It’s a scathing attack on colonialism, a shocking exposé of racism and a brutal and ironic indictment of Western, capitalist values. The film was restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory in collaboration with Med Hondo. Restoration funded by the George Lucas Family Foundation and The Film Foundation’s World Cinema Project. GOLDEN LEOPARD, LOCARNO INTERNATIONAL FILM FESTIVAL, 1970 | CANNES CLASSICS, CANNES FILM FESTIVAL, 2017

Med Hondo is a Mauritanian film director, producer, screenwriter, actor and voice actor. He emigrated to France in 1959 and his initial years of struggle inspired Oh Sun!. In the late 1960s, he began working in television and taught himself filmmaking. Oh Sun! was his first film. He would go on to make influential films and become one of the African diaspora’s brightest talents. He is considered one of the founding fathers of African cinema. 253

A N D R E I TA R K O V S K Y

STALKER

 RUSSIAN

 SOVIET UNION

h 161’

G 1979

FICTION INDIA PREMIERE

DIRECTOR ANDREI TARKOVSKY

EDITOR LYUDMILA FEYGINOVA

STORY/SCREENPLAY ARKADIY STRUGATSKIY, BORIS STRUGATSKIY, ANDREI TARKOVSKY

CAST ALISA FREYNDLIKH, ALEKSANDR KAYDANOVSKIY, ANATOLIY SOLONITSYN

CINEMATOGRAPHER ALEKSANDR KNYAZHINSKIY, GEORGI RERBERG

SALES AGENT MOS FILM

FESTIVALS AND AWARDS FILMOGRAPHY Ivan’s Childhood (1962), Andrei Rublev (1966), Solaris (1972), The Mirror (1975), Stalker (1979), Nostalghia (1983)

Andrei Tarkovsky’s last Soviet film embarks on a metaphysical journey through an enigmatic post-apocalyptic landscape. A hired guide — the “stalker” of the title — leads a writer and a scientist into the heart of the Zone, the restricted site of a long-ago disaster, where the three men eventually zero in on the Room, a place rumoured to fulfill one’s most deeply-held desires. Adapting a science-fiction novel by Arkady and Boris Strugatsky, Tarkovsky created a challenging and visually stunning work. At once a religious allegory, a reflection of contemporary political anxieties, and a meditation on film itself (among many other interpretations), this film envelops the viewer by opening up a multitude of possible meanings. Stalker has been restored by Mosfilm from a 2k scan of the original negative. BERLIN INTERNATIONAL FILM FESTIVAL, 1981 | LOCARNO INTERNATIONAL FILM FESTIVAL, 1980 | TELLURIDE FILM FESTIVAL, 2012

Andrei Tarkovsky (1932-1986) made less than 10 films in a career spanning more than two decades, and yet his work remains so distinctive that the Russian director is considered one of the most important filmmakers of the 20th century. Tarkovsky, who famously wrote that he believed cinema could “sculpt” time, is best known for a flamboyantly non-linear structure, the use of long takes and spectacular imagery (particularly scenes of nature and showing animals). His films spanned a wide variety of genres, ranging from historical dramas to science fiction. Although not ostensibly political, Tarkovsky found little support from the Soviet authorities and struggled to get his films produced.

HENRI-GEORGES CLOUZOT

THE TRUTH (LA VÉRITÉ)



FRENCH

 FRANCE

h 127’

G 1960

FICTION INDIA PREMIERE

DIRECTOR HENRI-GEORGES CLOUZOT STORY/SCREENPLAY HENRI-GEORGES CLOUZOT, SIMONE DRIEU, MICHÈLE PERREIN, JÉRÔME GÉRONIMI, CHRISTIANE ROCHEFORT, VÉRA CLOUZOT CINEMATOGRAPHER ARMAND THIRARD EDITOR ALBERT JURGENSON

CAST BRIGITTE BARDOT, CHARLES VANEL, SAMI FREY, MARIE-JOSÉE NAT, LOUIS SEIGNER, JACQUES PERRIN PRODUCERS RAOUL LÉVY PRODUCTION COMPANY HAN PRODUCTIONS, CEIAP SALES AGENT PARK CIRCUS

FILMOGRAPHY The Murderer Lives At Number 21 (1942), The Raven (1943), Quai des Orfèvres (1947), The Wages of Fear (1953), Les Diaboliques (1955), The Mystery of Picasso (1956)

BEST DIRECTOR, MAR DEL PLATA INTERNATIONAL FILM FESTIVAL (1961) | BEST FOREIGN LANGUAGE FOREIGN FILM, GOLDEN GLOBES (1961) | BEST FOREIGN ACTRESS, DAVID DI DONATELLO AWARDS (1961)

RESTORED CLASSICS

FESTIVALS AND AWARDS

Young Dominique is on trial for murdering her ex-boyfriend and musician Gilbert. The carefree young woman was obsessed with him and couldn’t accept that he preferred her more conservative sister. The routine court hearing handling the purported crime of passion soon begins to pillory her loose morals, not to mention the bohemian lifestyle adopted by the Parisian youth of the 1960s. In this courtroom drama, which HenriGeorges Clouzot co-wrote with his wife Véra, the filmmaker returned to his favorite theme of jealousy and its influence on an individual’s psyche. He placed the attractive Dominique at the center of the action and at the mercy of the contemptuous gaze of the middle class. The film was one of the biggest French box office hits of its time.

Henri Georges Clouzot (1907-1977) was a director, screenwriter and producer. Known as one of the Masters of Suspense, he made some of the most influential thrillers of 20th century cinema and even earned the admiration of Alfred Hitchcock. The noir world that Clouzot depicted shows an ugly, dark side of humanity and almost always had violence, greed and immorality. His best known films include The Wages of Fear (1953), Les Diaboliques (1955).

255

DEALS AND DISCOUNTS RESTAURANTS

AKA Bistro

Gostana

Jamie’s Pizzeria

The Brother’s Biryani House

15% off on total bill [Fort]

15% off on total bill [Bandra West]

10% off on total bill [Lower Parel]

15% off on total bill [Powai]

The Spare Kitchen

10% off on food and a complimentary glass of rosé wine [Juhu, Worli]

The Table

10% off on total bill [Colaba]

BARS/PUBS

Eddie’s

Buy two drinks get one free [Bandra West]

Kettle & Keg

15% off on total bill [Bandra West]

Mojo’s Bistro

Buy one get one free on all drinks [Lower Parel]

Independence Brewing Company 15% off on total bill [Andheri West]

Lord of The Drinks 15% off on total bill [Andheri West]

Tamasha

15% off on total bill [Lower Parel]

FOR DELEGATES! BARS/PUBS

Woodside Inn

The Little Door

Woodside Inn

The Bar Terminal

One dessert complimentary [Lower Parel]

Buy one get one free on domestic craft beers [Andheri West]

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10% off on total bill [Fort]

All Deals and Discounts only applicable against Jio MAMI festival ID. Valid only from 12-18 October, 2017.

Woodside Inn

15% off on total bill [Colaba]

CAFES

Blue Tokai

Chai Pe Charcha

15% off on total bill [Bandra West, Lower Parel]

15% off on total bill [Andheri West, Lower Parel, Prabhadevi, Fort]

Desi Deli

The Pantry

15% off on total bill [Bandra West]

15% off on total bill [Fort]

DESSERTS

La Folie Lab

15% off on total bill [Bandra West]

Sweetish House Mafia

10% off on total bill [Andheri West, Bandra West, Lower Parel, Nariman Point]

257

TITLE SPONSOR

ASSOCIATE SPONSOR

SUPPORTED BY

COLLABORATORS

frapp STUDENTS ONLY

259

FESTIVAL TEAM

PROGRAMMING

Kiran Rao Chairperson

Baradwaj Rangan Chief Consultant, Programming

Nita M. Ambani Co-Chair

Anu Rangachar Head, International Programme

Anupama Chopra Festival Director

Dennis Lim Consultant, International Programme

Smriti Kiran Creative Director

Paolo Bertolin Consultant, International Programme

Arpita Das Curator, Book Award for Excellence in Writing on Cinema Jongsuk Thomas Nam Curator, After Dark Nikhil Taneja Curator, Play Samina Mishra Curator, Half Ticket Shaina Anand Curator, The New Medium

Deepti DCunha Programmer, India Programme

Uma da Cunha Curator, Discovering India

Rashid Irani Member, Selection Committee, International Programme

PROGRAMME COORDINATION

Ratheesh Radhakrishnan Member, Selection Committee, India Programme Hardik Mehta Member, Selection Committee, Dimensions Mumbai Somen Mishra Member, Selection Committee, Dimensions Mumbai CURATION Amol Parchure Curator, Marathi Talkies

Kalpana Nair Head, Programme Coordination Adit Wadhwa Aviya Chadha Chitra Roy Manika Verma Muhammed Deshmukh Phalguni Desai Tara Sapru EVENTS Svetlana Naudiyal Head, Events Nikhil Sawant Richa Jain Manind Bedi SCHEDULING Svetlana Naudiyal Richa Jain OPERATIONS AND LOGISTICS Siddhika Pradhan

ADMIN Priyanka Bhogle HOSPITALITY AND VISITOR EXPERIENCE Tanya Walia Yashashree Falnikar Aishwarya Sudarshan Vidhii Bajaj Aurea Pereira Khushbu Soni FILM AND DIGITAL SERVICES Ravi Singh Tarang Vaghani Hanif Khan ACCOUNTS AND FINANCE Lokesh A Gowda OUTREACH Bhagirathi Raman PUBLICITY AND COMMUNICATIONS Anisha Yanger Head, Publicity and Communications Bhavana Ganu Ankit Verma Aditi Sinnarkar Juhi Kansara DIGITAL AND SOCIAL MEDIA Apan Singhal Aviya Chadha

VIDEO PRODUCTION Santosh Sonkar AUDIO-VISUAL PACKAGES Abhash Singh OFFICE ASSISTANCE Govind Chalwadi Ramesh Kamat CATALOGUE Deepanjana Pal Editor Urvashi Devang Makwana Original Design & Layout Harsh Marathe Cover Design Chitra Roy Content Coordinator Anuj Malhotra Template design Mother Graphics Pvt. Ltd. Printer AIRLINE PARTNER Turkish Airlines VENUE PARTNER PVR Cinemas

HOSPITALITY PARTNER J W Marriott, Juhu, Mumbai PARTY STARTER Chandon EVENT PARTNER 70 EMG REGISTRATION PARTNER Book My Show LEGAL PARTNER Solomon & Co. FESTIVAL SECURITY IIRIS TRAVEL AGENCY Bhasin Travels PRINT AND ONLINE MEDIA TRACKING Accord TELEVISION MEDIA TRACKING Gold News Monitoring Service

TECHNICAL PARTNER Qube Cinema Technologies Pvt. Ltd.

DESIGN Siddhant Sharma Anna-Marie Pinto

261

FRIENDS OF THE FESTIVAL

ACKNOWLEDGEMENTS (HALF TICKET)

Aastha Gupta Aditi Rao Hydari Alankrita Shrivastava Amrita Pandey Asad Laljee

Nidhi Goyal Nitin Baid Pooja Dhingra Raja Sen Rajeev Masand

Preview Committee Batul Mukhtiar Jeroo Mulla

Bishakha Dutta Hardik Mehta Imran Shamsi Iravati Harshe Kunal Kapoor

Sahil Arora Sanyukta Chawla Shaikh Sayani Gupta Shivendra Singh Dungarpur Shubhra Shetty

Facilitation Chatura Rao Janit Temkat (Gillo Gilehri) Nishna Mehta (Gillo Gilehri) Prasad Dagare (Gillo Gilehri) The Pomegranate Workshop

Manashvwi Gupta Mayank Tewari Muskaan Kapoor Neeraj Ghaywan Neha Kaul

Somen Mishra Sonam Kapoor Urmi Juvekar Varun Grover Vasan Bala

School Participation Aditya Birla World Academy Akshara High School Amulakh Amichand International School

School Participation Babasaheb Ambedkar School Beacon High School Billabong High International School Bombay Scottish Powai C.P. Goenka International School

Teach for India The Gateway School Udayachal High School Udayachal Primary School

Chatrabhuj Narsee School Deonar BMC School Elia Sarwat English High School Holy Mother English School Lodha World School Palava

Podar ORT International School Worli New English Secondary School Pahadi Municipal School Shankar Adi MPS

263

INDEX

24 Frames

127

68 Kill

115

Anukul 92 Ardh Satya

103

A Fantastic Woman

127

A Gentle Creature

128

A Suitable Girl

128

A Train Arrives At The Station

246

A Very Old Man With Enormous Wings

159

A Well-Spent Afternoon

218

Amar Akbar Anthony

249

Apostasy 62 April’s Daughter

129

Ashwatthama 42 Ask The Sexpert

160

Bad Black

116

Bad Lucky Goat

63

Barley Fields On The Other Side Of The Mountain

129

Bambaiwale 85 Barrage 187 Beauty And The Dogs

188

Beach Rats

130

Bhasmasur 161 Blade Of The Immortal

130

Bright Sunshine In

189

Brigsby Bear

131

Bulbula 85 California Dreams

131

Call Me By Your Name

132

Caniba 132 Centaur 133 Chavela 133

Checkmate 43 Chickens for Kimaru

218

Chhuri 92 City of Ghosts

134

Claire’s Camera

134

Cloudboy 211 Come Let Us Be Friends

223

Commune 121 Cry Humanity

162

Death Of A Father

93

Death Metal

121

Devil’s Freedom

135

Dina 135 Domestic Tourism II

241

Dreams About My Father

218

Dreams Rewired

245

East Is East

103

Emil And The Bridge Divers

219

Félicité 190 Flashback 234 Flying Rats

226

Footsteps 219 Free And Easy

136

From Gulf To Gulf To Gulf

244

Fukushima Trilogy

243

Funeral Parade of Roses

250

Good Time

136

Goodbye Children

224

Granny 44 Half A Life

219

Halim 226 Holy Camp!

137

Hour of the Furnaces

233

I Am Not A Witch

64

In The Shadows

45

Invisible 137 Irreversible 184 It Comes At Night

117, 138

Jaane Bhi Do Yaaro

104

Jesser And The Sugarcane

220

Juice 93 Juze 46 202 265

INDEX

Kaccha Limbu

Keep Out Of Children’s Reach

122

Khada Watchman

86

Killing Ground

118

Last Flag Flying

138

Level Five

237

Lies We Tell

139

Lines 86 Little Heroes

212

Live 86 Loveless 139 Lover For A Day

191

Loving Pia

140

Loving Vincent

140

Los Angeles Plays Itself

240

Machines 47 Made For Each Other

87

Malena 184 Manifesto 141 Malina The Murderer In Four Acts

141

Mdudu Boy

220

Me 87 Meatball Machine Koduku

119

Mon Mon Mon Monsters

120

Monterey Pop

251

Montparnasse Bienvenue

65

More 66 Most Beautiful Island

67

Mother! 142 Mukand And Riaz

226

Muramba 202 Nimmo 163 Noori 87 Nothingwood 128 November 142 Oblivion Verses

68

Oh Lucy!

69

Oh Sun!

252

On Body And Soul

143

On The Beach

143

On The Milky Road

184

One Thousand Ropes

144

Owls And Mice

225

Pale Blue Dot

164

Patang 104 Patti Cake$

144

Pendular 145 Pipsi 213 Prakasan 176 Pushkar Puran

165

Pyaada 88 Quell 88 Quest 70 Rabbit School

214

Ralang Road

48

Redoubtable 192 Red Balloon

227

Returning To The First Beat

166

Safia’s Summer

220

Scary Mother

71

Sicilian Ghost Story

145

Signature Move

146

Summer 1993

72

Shalom Bollywood

177

Sleeping Beauty

193

Spectres Of The Spectrum

128

Spoiler Alert

122

Spoor 146 Spotlight On Merna

221

Stalker 253 Summer 1993

72

Superpower Girl

122

Susu 88 Swagger 215 Sweet Country

147

Sweet Pickle

128

Take Care Good Night

203

Taxidermy 89 89

The Cloud And The Whale

227

The Day After

147

The Day I Beat The Sky

221

The Day My Father Became A Bush

216

The Departure

148

The First Attempt

89

The Florida Project

148

The Forsaken

167 267

INDEX

Thakur Sahab

The Giant

236

The Girl of 672k

221

The Goat

203

The Hundred-Foot Journey

105

The Hungry

171

The Last Story

90

The Lottery

204

The Other Side Of Hope

149

The Party

149

The Prince Of Nothingwood

150

The Society Of The Spectacle

235

The Song Of Scorpions

172

The Specialist: Portrait Of A Modern Criminal

238

The Spectres Of The Spectrum

239

The Square

150

The Summer of Miracles

168

The Summit

151

The Third Murder

151

Thelma 152 The Truth

254

The Valley

178

The Venerable W.

194

The Workshop

195

The Wound

73

The Young Karl Marx

196

Toffee

227

Ubuntu 204 Untitled 152 United Red Army

242

Up, Down And Sideways

49

Vacancy 90 Vazante 153 Victor’s History

179

Village Rockstars

50

Wajib 153 Walking With The Wind

169

What Will People Say

180

Winter Brothers

74

Wolf Of Chawl Street

90

Wonderstruck 153 Zama 154 Zaineb Hates The Snow

217

Zoo 51

A BIG THANK YOU TO OUR

VOLUNTEERS,

19

you are the wind in our sails!

NOTES

NOTES

271

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