Monday, 28 February 2022
The invasion of Ukraine changed everything for Wall Street
States want to boycott Russian vodka. Here's why that won't work
Analysis: Why journalists covering Ukraine and Russia lean into the many unknowns of war reporting
How an Indian company is transforming palm leaves into tableware
BP will dump its 20% stake in Russian oil giant Rosneft
How the Ukraine conflict could redraw the world air map
Christian Eriksen makes first appearance since cardiac arrest 259 days ago
Saturday, 26 February 2022
Boxing legends the Klitschko brothers vow to fight for Ukraine
Putin's plan: Annexations, a rump state or puppet rulers?
Russian tennis stars speak out against war
Analysis: Europe in a bind on Ukraine response
UEFA moves Champions League Final from St. Petersburg
'We just wanted to be together,' says Ukrainian couple who rushed to marry amid attacks
Friday, 25 February 2022
Pondicherry, Review: Enough icing, but the cherry is missing
Pondicherry, Review: Enough icing, but the cherry is missing
Marathi film Pondicherry is like a French patisserie (it used to be a French colony), with some delectable pastries to savour. It uses the relatively unknown locale quite well, and incorporates tastes of various other languages, besides Marathi: Hindi, Punjabi-accented Hindi, English, Tamil and French. It also uses characters from the ages of 7 to 70, to be really democratic in its story-telling. Having set the base of the cake and the icing just about right, it somehow forgets to put a cherry on top. For those who did not get the allegory, the film had many more possibilities then it ended-up tapping. And yet, it is innocent, innocuous and an easy watch film.
In Pondicherry (south India, bordering Tamilnadu state, also known as Puducherry), Pune-born Nikita runs a home-stay, with the help of a loyal caretaker. She started this because she had visited Pondicherry, met her husband there and liked the place. Moreover, her husband is a Navy-man, who spends six months of the year at sea, so she needs something to keep her occupied. Along with the home-stay, she also serves as a tour guide, since she can speak English and French, besides Marathi and Tamil. She has a young son, Ishan, who is precocious, and a little too smart for his age. Into this world comes a man named Rohan.
As he alights from a car, his colleague hands him a gun, but Rohan returns it, saying that this time, his handsome face will do the needful and the gun will not be needed. Although he had initially booked a room at Nikita’s home-stay for just a day, he extends his stay by a whole month. As the days go by, he gets close to Ishan, and through Ishan, to Nikita. Nikita’s mother is in constant touch with her on the phone, and even visits her. But she would like Nikita to sell off that property and move back to Pune. And then two developments take place. Firstly, Vishnu, Nikita’s husband, has not come back in a long time and there are fears about his having been drowned at sea. Secondly, Rohan reveals that he has come to take over the property on behalf of his principals. Suddenly, Nikita’s world seems to be crumbling beneath her feet.
Giving the tale a delicate treatment, writer Tejas Modak (Gulabjaam) dots it with some interesting nuances. Almost everybody, and Nikita in particular, is always walking or running. She explains this trait by saying that it helps her get over sadness. He uses the kid to both conceal and reveal secrets, as is the norm with most children that age. But there are trappings that could have been avoided. The gun bit is out of place. The co-incidence of Rohan’s ex-wife landing at the same home-stay, with her fiancé, is too much to digest. The sequence at the school is nothing if not touching, yet it does not ring true. And the smelling of clothes is taken too far. Pondicherry gives the feel that the writer worked with the germ of an idea, but could not translate it into a more engaging narrative.
Director Sachin Kundalkar (Rajwade and Sons, Vazandar, Gulabjaam) has handled the film sensitively, looking at women’s world from their point of view. There are three major female characters, and they largely ring true. So do the three male characters. However, for the major part, it is a sad story, with little or no relief. Nikita faces the prospect of being widowed and losing her home-stay, Manasi (Rohan’s ex-wife) is rejected by her divorcée husband-to-be, and Nikita’s mother is all lost, wanting her back in Pune, and endorsing the sale of the property. By comparison, the male characters have it easy, or, at least, easier. Rohan loses nothing, Nikita’s loyal caretaker is open to serving his new bosses should, should the home-stay be sold, and Manasi’s fiancé drops her like a hot cake when an unexpected development takes place. Though not the tear-jerker kind, melancholia pervades all through. Unlike an open ending, the end is a sort of compromise, a ‘neither here nor there’ kind of predicament.
Understated and business-like in her dealings, Sai Tamhankar as Nikita conceals a volcano in her heart. Her performance elicits both sympathy and empathy. Vaibhav Tawawadi as Rohan has the right physique and is quite convincing. Amruta Khanwilkar has a smaller role and fits the bill. As the child, Ishant, Tanmay Kulkarni is just a bit over-the-top, but child roles do not generally appeal unless they are either brutalised, naughty or precocious. Old-timer Neena Kulkarni makes the ideal mother, looking the right age, and dishing out what she believes is the right advice to her daughter. Gaurav Ghatnekar is passable as Manasi’s fiancé. Bhupendra Jadawat plays the caretaker, and plays it well.
Shot on an Apple iPhone by Milind Jog, the choice has worked both for and against the film, largely for. It goes against the film when there are some scenes that show inappropriate light or some shadows. Abhijeet Deshpande's editing keeps the film to 110 minutes, which could have been even shorter, for better impact. Tejas Modak has done the wall paintings and the credit titles too. Kudos for that. Some shots appear repetitive, but that is the city growing on you. Music by Debarpito Saha is pleasant and unobtrusive.
Pondicherry is an ode to the city-state, which has attractive beaches, but from where the caretaker of the home-stay goes to Goa for his holidays. It had all the makings of a feel-good movie, but as it turns out, it is more sad than good. You could still see it, smile a little, wipe a little tear and emerge unharmed from the visit.
Rating: ** ½
Trailer: https://www.youtube.com/watch?v=ze-2wc_h1Ig
from Filmfestivals.com - Hollywood, Independent, Shorts, Videos, Documentary https://ift.tt/z1MOPSA
via gqrds
Thursday, 24 February 2022
Oreo maker and Coke bottler close up shop in Ukraine
Maeya Film new production “ Tibetan Horse”is filming in China.
Tibetan Horse, a large-scale ethnic theme film produced by Maeya Films, held a grand launching ceremony in the Gannan Tibetan area a few days ago. The film is directed by young director Jade Li and starred by Cooper Budan, a famous Chinese minority actor. Maeya Films joined hands with Qinghai Mantanhong Culture Media Co., Ltd., Xining Baita Art and Culture Communication Co., Ltd., Sichuan Miding Media Co., Ltd., and Qinghai Linshui Media Co., Ltd. to co-produce the film.
Cooper Budan, who graduated from Qinghai Nationalities University, majored in thangka painting, is a famous ethnic minority actor in China. He has starred in the TV series "The Longest Day In Chang'an", "Snow Line" and the movie "On Matriarchy Lake", and "Life of Buda". "Tibetan Horse" is a dream come true that he wants to show the charmingness of humanities and natural beauty of his hometown to the world. His hometown was in Maqu County, Gannan Tibetan Autonomous Prefecture. All the scenes in the film are shot in his hometown and the "Tibetan Horse" shows Maqu's majestic first bend of the Yellow River, more than 10,000 square kilometers of prairie, Ando horses, and vivid fierce horse racing! It is believed that it will become another brilliant achievement in his excellent ethnic theme work resume.
The film "Tibetan Horse" is based on the life of the primitive Tibetan herdsmen, takes the breathtaking struggle to track down the horse thieves, and embodies the Tibetan culture of the primitive Ando herdsmen, the beauty of Maqu in Tibet, the pure love and the deep connections between brothers. Expressing that only the goodness of human nature can spread positive energy, "hatred can not dissolve hatred, only compassion can thoroughly dissolve hatred". As long as we have the kindness of one mind, then we will realize that all things are good; as long as we have the kindness of one heart, we will be able to understand the love of all things. To introduce "Human nature is Buddha-nature, and Buddha-nature is human nature" in the film so that audiences can truly feel and understand the thoughts and humanities of the Tibetan people.
The production of "Tibetan Horse" invited Hollywood's first-class technical team to provide remote support, and the local shooting team is composed of 100% Tibetans. Producer Quentin Meng hopes to provide more Tibetan compatriots with opportunities to enter the film industry and gain valuable experience in front-line shooting through such a team. "Tibetan Horse" has been stepping up filming and production in the Gannan Tibetan area since it was started. Based on the experience accumulated over the years, Chief Producer Boney Li believes that the completion of the production of "Tibetan Horse" will create more glory for Tibetan films in the world! At present, the film has confirmed the intention of international production and distribution with Maeya Films. In the future, Maeya Films will represent “Tibetan Horse" to participate in the evaluation, exhibition, and distribution of the international film festivals. Maeya Film, which has many years of experience in the distribution and promotion of ethnic films, is also full of confidence in the production team of "Tibetan Horse". It is believed that after the completion of filming and production, "Tibetan Horse" will bring a refreshing new experience for audiences at home and abroad. For more details, please follow the official account of Maeya Films and learn more about the latest information on the front line of the "Tibetan Horse" shooting
from Filmfestivals.com - Hollywood, Independent, Shorts, Videos, Documentary https://ift.tt/1Q3Mit6
via gqrds
What Covid did to Amsterdam's cannabis coffee shops
Pakistan-American man sentenced to death for beheading a diplomat's daughter
This is how your wallet could be affected by the Russia-Ukraine crisis
Trudeau revokes Emergencies Act, saying existing laws are enough to deal with protesters
Wednesday, 23 February 2022
The Middle East already has a crypto hub, and it's not Dubai
Why markets care about Putin's aggression
Tuesday, 22 February 2022
North Korea breaks ground on 10,000-home high-rise district
Colombia becomes latest Latin American country to partially decriminalize abortion
Nigerian startup is fighting baby jaundice with solar-powered cribs
This could become the most expensive photo ever sold
Australia demands answers from China over alleged laser incident at sea
Haiti hikes minimum wage by up to 54% following worker protests
Monday, 21 February 2022
Solid earnings season wasn't enough to calm investors
An entire group of men is being left out of the workforce. Here's why
Facebook is rebranding everything but faces the same old problems
US adds sites operated by Tencent and Alibaba to 'notorious markets' list
Hundreds arrested in Ottawa protests as investigators look into 2 police-related incidents
Sunday, 20 February 2022
Survivor found alive after Greece ferry fire
These sisters fled Afghanistan, hoping to find safety. Now they fear war in Ukraine
Harris says US 'stands with Ukraine' while warning Russia of 'swift, severe and united' consequences
A Chilean indigenous language vanishes as last native speaker dies
Why some North Korean defectors return to one of the world's most repressive regimes
Australia says Chinese warship 'illuminated' one of its planes with a laser
Saturday, 19 February 2022
Pyar Mein Thoda Twist, Review: A sack-full of emptiness
Pyar Mein Thoda Twist, Review: A sack-full of emptiness
A lot of action in the film Pyar Mein Thoda Twist takes place inside a bound sack. It is marked, Lena Hae Lena Hae (have to take, have to take) Brand, and it twists alright. No, not because it is haunted, but because it holds a man captive. This man is supposed to be Mr. Wanted, a dangerous criminal, whose capture carries a reward of Rs. 2 million. While the sack changes hands and locations several times, being stolen or ‘kidnapped’ from the house of the man who first captured the man in it, it remains the most wanted possession of the holder, on account of the bounty on the inmate’s head. Except for this idea, which seems a patch, imported from another movie, the rest of the film is neither haunted nor wanted.
A small town in Uttar Pradesh (UP) is the locale, and the current Chief Minister is thanked with a full-screen acknowledgement. Two feuding patriarchs rule the roost: A headstrong Village Headman, Vijendra Singh, and the ruthless Money-lender, Jagatram. While they are at logger-heads, their children fall in love with each other. Dhiru, the Headman’s son, falls for Maya, the daughter of the Money-lender. This angers the respective fathers (Jagatram is a widower), and they flatly refuse to agree to the alliance. Although the children emotionally blackmail the fathers, they do not budge. In comes a ‘mahant’ (the priest of their common temple). In exchange for a fat offering, he agrees to conjure up a plan to get the parents’ assent.
Pretending to come from the other side each time, the ‘mahant’ fools both fathers into believing that the alliance has been blessed by the gods. Preparations begin in earnest for the wedding of Dhiru and Maya, but the dowry demands of Vijendra Singh throw a spanner in the works. Moreover, the ‘mahant’s ruse is exposed, and ego clashes erupt. Just about then, a poverty-stricken local comes across a man in the jungle, who answers to the description of Mr. Wanted, and he wallops him from behind, on the head, knocking him unconscious. He and his obese wife then carry him home, and hold him captive, because the Superintendent of Police, the only man in the department who is not corrupt, has a wedding in his family, and would not be available for 4-5 days. They decide to wait and claim the reward from him, rather than deal with the lower ranks in the police station, who will all claim a share. With this money, he hopes to repay the debt he owes to the Money-lender, with whom he has mortgaged his hut and his land.
Pyar Mein Thoda Twist, from all accounts, is writer Abhishek Shashi Kumar’s first release, and he has a lot to learn about screenwriting. His debut effort exhibits only rudimentary knowledge of the art. The first half is an amalgam of so many films set in Uttar Pradesh. He begins with a voice-over that classifies this ‘village’ (looks a small town, not a village, in most parts, including some drone shots) as one of the worst, because the residents are all evil and indulge in a lot of fighting. A dozen odd inhabitants are shown grappling with each other. All the fighting then shown showcases Dhiru, who punches the hell out of every one who comes in his way, sends every thug along the aerial route, and once, even fights to a stop-watch timing of five minutes, because he has to take his lady love on his motorcycle exactly five minutes later. Which judo/karaté/kung-fu/jiu jitsu/shaolin/wrestling/boxing/kick-boxing schools did he graduate from is never revealed.
As the film progresses, we find the usual crop of lumpen elements in fracas with Dhiru, a greedy Money-lender and a dowry seeking Headman up to their antics. Both Dhiru and Maya, as well as the farmer Dhaniram, are near saints, so the voice over-contradicts himself. Then comes the incredible track of Sad Sack. Every time he is stolen or kidnapped, he is given a whack on the head, that renders him unconscious. But how do the three or four ‘possessors’ manage to keep him in a sack in their homes, feed him, take him for his ablutions and prevent him from making any kind of noise for days on end is never explained. Also, being kept in a gunny bag, which is tied at the top, and being knocked unconscious most of the time, he should have died, but he emerges hale and hearty. Why do Dhiru and Maya, who must have known each other, or about each other at the very least, since they were kids, suddenly fall for each other, is never explained. Dialogue is peppered with references to Amrish Puri, Alok Nath and Anupam Kher.
If it is the writer’s first effort, it is probably the director’s 20th. And should he have known better! Partho Ghosh (100 Days, Dalaal, Agni Sakshi, Mausam Ikrar Ke Do Pal Pyar Ke) has directed Hindi and Bengali films galore, and his first Hindi film was 30 years ago. At 65, he cannot be making Pyar Mein Thoda Twist, unless the motivations were other than cinematic. Add to that a plot that is hackneyed and beaten to death, in the first half, and completely changes tracks in the second half, and a lead actor who does not deliver and a heroine who has a flat, unidimensional role…his task in unenviable, to give him a bit of his due. Continuity needed to be paid better attention too. To his credit, he is able to extract serviceable performances from his supporting cast, except when they are made to go over the top. He directed the producer’s last vehicle, Mausam Ikraar Ke Do Pal Pyar Ke, which I have not had occasion to watch.
Did I say that the lead actor, Mukesh J. Bharti, shows skills in martial arts? Here is what the Internet reveals about him: Formerly a Martial Arts Instructor in Bareilly (UP, where I was born), he is a 5th Dan Black Belt. His first film was Kaash Tum Hote, released eight years ago. Like many action heroes, he needs to work on his emoting and dialogue delivery. Work hard, work soon, since he has already spent over eight years in film-town. It is not known whether he is related to the co-producer Manju Bharti, who also appears in a brief role, showing her dancing ability too. Richa Mukherjee, as Maya, who graced the soft premiere cum press show with a midriff revealing outfit, has little to do, in terms of real histrionics. Winking, dancing and pillion riding on the hero’s motor-cycle do not require any special skills. But she has potential, which needs to be tested.
Rajesh Sharma as Vijendra Singh and Atul Srivastava as Jagatram, the two warring lords, deliver the goods. Atul has matured very well from his television days. But both look ill-at-ease, notwithstanding the smiles, when they are made to dance. Alka Amin plays the Headman’s wife fluently, while the Money-lender is a widower. Good support comes from Vijay Singh Bhadauria, Arpit Singh Bhadauria, Noor Fatima, Soma Rathod, Saheb Das Manik Puri, Rajeev, Omkar Das Manikpuri (Dhaniram, a rich performance), Samuel Charle, Santosh Shukla and Gulshan Pandey. That makes two Bhartis, two Bhadaurias and two Manikpuris. Some of these actors perform better than the lead players, but all in vain.
There is little to commend about cinematography by Amit Singh and film editing by Sanjay Sankla. Even the art direction, by Sidhant Malhotra leaves a lot to be desired. Which brings us to the music. At the soft premiere in Mumbai’s PVR Icon Auditorium 3, at the Infiniti Mall, a spokesperson, who look very much like a Russian or East European actress working in the Indian film industry, paid tribute to Bappi Lahiri, who has composed the music of this film and sung as well, in broken English. She did not even get the composer singer’s name right. Bappi died just a few days ago, aged 69. We observed two minutes’ silence in honour of the departed soul. A lot was said about the close association of Bappi with the film and the great sense of loss the producers are feeling, having had to release the film, his last, just days after his death.
Rather unfortunately, Pyar Mein Thoda Twist does no justice to the creativity of Bappi. Arguably, his work in the 80s was no patch on his early assignments, in the 70s, beginning with Nanha Shikari. Bappi succumbed to the disco lure and even lifted tunes directly, filling them with electronic sounds, rather than Indian melodies and instruments. Here, he recycles his own ‘Lena hae lena hae’ and does a version of ‘Tootak tootak tootak tootiyaan’. ‘Lena hae, lena hae’ was a term he contributed to the original song, not the lyricist. The background score consists of really loud stuff, with five or six set pieces running through several minutes each of screen time. The dancing that accompanies these songs partly redeems the tracks. But if he was honest about it, Bappi would not be proud of his contribution to the music track of this film.
It would not affect the film one bit if the entire first track, of Dhiru and Maya, is excised, and the film is released as a tale of the trials and tribulations of the most desirable Mr. Wanted, in a 90-minute version. The makers could take inspiration from the popular comic cartoon series, in print, called The Sad Sack, and weave a story around it. As it stands, the dichotomy weighs the film down, and the 128 minutes are not pleasurably spent. And that is an understatement. Meanwhile, a few people should be ‘sacked’ for turning out a film that lacks basic cinematic grammar and composition.
Rating: * ½
Rating: https://www.youtube.com/watch?v=CwnM0udH-Jc
from Filmfestivals.com - Hollywood, Independent, Shorts, Videos, Documentary https://ift.tt/UXxqfCG
via gqrds
Opinion: China and Russia want to surf Latin America's 'pink tide.' It's not so simple
2021 festival filmmaker Q&A livestream

Filmmakers from around the world participated in a livestreamed Q&A session during our 2021 festival.
from Filmfestivals.com - Hollywood, Independent, Shorts, Videos, Documentary https://ift.tt/L2dGKNm
via gqrds
Friday, 18 February 2022
Storm Eunice brings hurricane-strength gales, highest wind speed on record in England
Malawi detects polio, first wild case in Africa in over 5 years
A shorter work week, cash to invest: Companies add perks to attract workers
World's first electric plane startup parts ways with CEO in mysterious rift
Asia markets open lower after Ukraine invasion fears prompt Dow plunge
Paris exhibit brings 'The Little Prince' home
Thursday, 17 February 2022
Gambling surged to new records last year
Dry January was more popular than ever. That's good news for the alcohol industry
Hollywood actor's Ponzi scheme, explained: Why investors keep falling for scams
Uber now lets you see how many one-star ratings you received from drivers
Surprising world of Stonehenge revealed in new exhibition
At least 13 dead after wedding guests fall into well at Indian ceremony
Decision on Iran nuclear deal 'days away,' says French foreign minister
American detained in Russia says he is coughing up blood
Wednesday, 16 February 2022
They met on Valentine's Day while hiking in the Himalayas
Yuncheng Salt Lake, China's colorful 'Dead Sea'
Ex-Honduras president agrees to extradition to the US
Tuesday, 15 February 2022
Canada tries to block funding for illegal border protests against Covid-19 rules with sweeping new financial measures
How 'Amapiano', South Africa's soulful sound, has become one of the hottest new music genres
'Once-in-a-decade talent': Why Eileen Gu is fashion's dream model
Monday, 14 February 2022
How two Middle East powerhouses fell out, then made up
Lockheed Martin terminates $4.4 billion deal to acquire Aerojet Rocketdyne
Looking for bargains? Here are the stocks we love
Musk blames 'fun police' for recall of feature that makes fart and goat noises
Cook Islands braces for first community Covid-19 cases
Opinion: Canadian trucker protests are the latest example of Covid-19 absurdity
A comedian performed a powerful monologue addressing India's rape crisis. A right-wing activist called for his arrest
US 'actively working' for release of American held by the Taliban in Afghanistan, Sullivan says
Sunday, 13 February 2022
Why the Ambassador Bridge is crucial to two nations' economies
Cisco makes $20 billion-plus takeover offer for Splunk
Former Amazon employee sentenced to federal prison for involvement in bribery scheme
Travel roundup: Two Caribbean islands are making entry easier
Biden unfreezes Afghan funds for in-country relief and 9/11 legal fight
Analysis: Russia may be on the brink of war. In Moscow, you might not know it
China censors lesbian plotline in 'Friends'
Saturday, 12 February 2022
Badhaai Do, Review: No blessing for this messing
Badhaai Do, Review: No blessing for this messing
Watching Badhaai Do, an old thought re-surfaced. I used to wonder what would happen if, by some quirk of circumstance, a homosexual and a lesbian ended-up marrying each other. Looks like some antenna picked-up this concept and turned it into a lengthy film. Unfortunately, the writers and the director are unable to decide whether they should inject humour or treat it as a tear-jerker. They lean towards the latter, but fail on the mise en scène front and dish out one of the least engaging films in recent times. A few moments are all one can watch with some degree of involvement. For the rest, it is a colossal waste of cinematic resources.
A police officer called Shardul Thakur (I thought he was a cricketer!) is man with rippling muscles and a homosexual. His family is keen on getting him married and finally agree to an alliance with his colleague, a Muslim girl. Too late! She could not wait any longer and has already got married. He meets Suman Singh, a Physical Education teacher, and they do not get along. But Shardul gets an idea and proposes to Suman, literally, and also proposes that getting married would end the pressure their respective families are putting on them to get married, completely unaware of their sexual inclinations. She agrees.
They do not take into account that their families would expect them to produce children as soon as possible, since both are in their thirties, which leads to a volley of lies and excuses. Simultaneously, they continue to have homosexual and lesbian affairs, having shifted to police quarters, far from their parental homes, and living in separate rooms. Shardul brings Kabir along to their honeymoon, while Suman falls for a pathologist, Rimjhim. But Kabir ditches Shardul and falls for another homosexual man, an advocate he meets a gay pride march. On the other hand, the Suman-Rimjhim affairs blossoms. What next? It’s an easy guess. Either they will be caught with their pants/skirts down, or they will confess. In both developments, there will be grave consequences, and ultimate acceptance. The film chooses one path for one protagonist and the other path for the second one, taking no chances.
Including the director, there are three writers: Suman Adhikary, Akshat Ghildial, Harshavardhan Kulkarni. Did the name of the female protagonist come from Suman Adhikary, though he is male? Suman is Senior Creative Director at FCB Ulka and Badhaai Do is probably his first film. For Ghildial, it is a second foray, with a couple of films in the pipeline. What was his first film? You guessed it: Badhaai Ho. Harshavardhan Kulkarni is the son of Kannada poet G.V. (Jeevi) Kulkarni and has been around filmdom for around eight years (Hasee Toh Phasee, Hunterr, Amriki Pandit). Akshat and Suman had been working on this script for almost six years before it got filmed, and having seen Hunterr, a coming of age sex comedy, they suggested Harshavardhan’s name to Junglee Pictures, the producers.
If sympathy for a cause was the only criterion for judging the merits of a tale, this film would score reasonably well. But on most film-making yard-sticks, it falls flat. Let’s talk about the writing. To begin with, it has too many characters, consisting mainly of large families of the protagonists, policemen and lovers. Then it takes ages to get its core subject. In the meanwhile, it brings in the Hindu-Muslim angle, when there is talk of Shardul having a soft corner for a Muslim colleague. The family gives in, but, by that time, the girl is already married. Why did a gay Hindu Shardul even considers marrying a straight Muslim colleague… is beyond comprehension. This is apparent again when we find that Shardul’s first partner is named Kabir, which, though an Arabic name, is also used by other communities, inspired by the name of the unity preaching saint of yore. Both Shardul and Suman are the physically fit types, being a police officer and a Physical Education teacher respectively. Shardul’s gym-toned body is displayed time and again, though when he dresses normally, you feel that the six-packs and twelve-tacks were digitally enhanced. Their physiques conform to stereo-types. The screenplay makes it look very easy to pick-up gay partners: Suman stares at a pathology lab technician and she stares back. The affair is on. Shardul is on duty, supervising a gay parade, and stares at one protestor, and he stares back. There you are. No wonder LGBTQIA+ groups are up in arms against their depiction. Except for a couple of lines, the dialogue is perfunctory, and the intended humour is mainly implied. There is pretty little to laugh about in this venture.
There is talk of Harshavardhan Kulkarni’s earlier directorial venture Hunterr being a cult classic. Since I haven’t seen it, I cannot comment. But I can say with conviction that this film does not have “long legs”, as Hunterr is supposed to have had. Several issues arise, as the film trudges along: predictability, boredom, disbelief, disengagement, disinterest and more. He has caste, ‘title’ gender and religion issues on his plate. Then he brings in a girl from the mountainous north-east as Suman’s partner. It is not possible for the respective gay/lesbian affairs to continue for so long without anybody getting a whiff. Then Shardul is shown as a man who has had or has at least three partners. Suman and Rimjhim have sex with both their bedroom doors and main doors open. Risking being caught by the whole family, Rimjhim comes back while escaping being found out, in a rickshaw, to retrieve her wallet. Humour, anybody? A recurring reference to a stool test, with large and small samples, induces stinks, not winks.
Rajkummar Rao’s muscles, as Shardul, cannot but impress. To his credit, that he has worked on his diction and now sounds better than ever before. He is committed and confident, but severely constricted by the script. So is Bhumi Pednekar (Suman). She has lost a lot of weight and her acting abilities have sharpened too. Seema Pahwa (grandmother) is Seema Pahwa, as she is always. Sheeba Chadhha plays shy, diffident mother to Shardul, who always shapes to say something, only to shake her head. One wonders whether this is a medical condition or just a personality trait. Support from Chum Darang (Rimjhim), Loveleen Mishra, Nitesh Pandey, Shashi Bhushan, Deepak Arora and Hani Yadav is routine, with Chum (from Arunachal Pradesh, making her debut at age 30) being easy on the eyes and ears.
Both, cinematography by Swapnil Sonawane and editing by Kirti Nakhwa leave a lot to be desired. The camera is hardly ever used creatively and the editing is either jerky (on a few occasions) or not matching the cuts on others. The film needed to be at least 27 minutes shorter than the 147 that it clocks. Badhaai Do’s musical score is by Hitesh Sonik and the songs are credited to Amit Trivedi, Tanishk Bagchi, Ankit Tiwari and Khamosh Shah. There are 12 tracks, most of them with heavy synthesised drums, but none to recall after the film.
In Covid times, one looks eagerly forward to any theatrical release that has a press preview as well. Disappointment is all that Badhaai Do offers, and you come out saddened at the colossal waste of talent and resources While its predecessor, in nomenclature only, Badhaai Ho, was at least watchable, this one is not. You are not going to see it? Badhaai Do (Give Felicitations, to you). And for those who brave it to the cinema halls, no blessing for this messing.
Rating: * ½
Trailer: https://www.youtube.com/watch?v=HpMsvH7DpPc
from Filmfestivals.com - Hollywood, Independent, Shorts, Videos, Documentary https://ift.tt/d0mlb7G
via gqrds
At least 7 British citizens and 1 American are being held by the Taliban in Afghanistan
Boy, 12, killed in Ireland after car he was driving collided with truck
France announces plans to build up to 14 nuclear reactors
Friday, 11 February 2022
US auto factories disrupted by Canadian trucker rally
Canned cocktails are so big, they've made it to the Super Bowl
“Jurassic World: Dominion” trailer gives us a dramatic glimpse at the “epic conclusion to the Jurassic era”
“Jurassic World: Dominion” trailer just released giving us a dramatic glimpse at the “epic conclusion to the Jurassic era” — a hint that this might be the final film of the “Jurassic ” franchise.
Until they decide otherwise...by demand!
Watch the prologue 5 minutes from the movie (which releases june 10).
from Filmfestivals.com - Hollywood, Independent, Shorts, Videos, Documentary https://ift.tt/x5rB9vu
via gqrds
Boris Johnson's go-to economic boast obscures the painful truth
What the US is watching that could signal Russia is launching an invasion of Ukraine
Thursday, 10 February 2022
No snow, no problem: Winter sports are booming in China
UK anti-Semitism reaches record high in 2021, report says
Ghibli Park, a new anime theme park destination in Japan, to open in November
Iranian husband beheads teenage wife, authorities say, shocking the country
The world's most fascinating abandoned towns and cities
Submissions opening soon
Are you an independent filmmaker with a unique creative voice? Mirror Mountain Film Festival is searching for the most groundbreaking, outrageous, personal, innovative, audacious and original films out there, so submit your work to us! We are officially open for submissions on February 21st, and we want to see your drama, comedy, sci-fi, horror, fantasy, documentary, animation, experimental, music video, dance film, interactive media and more! Shorts, medium-length films and features in all genres are welcome.
Info: https://mirrormountainfilmfest.com/submissions/
from Filmfestivals.com - Hollywood, Independent, Shorts, Videos, Documentary https://ift.tt/PhzUL7S
via gqrds
Search efforts resume in Colombia after landslide kills 15, injures dozens
Oil could 'easily' hit $120 if Russia-Ukraine crisis escalates, JPMorgan warns
Main suspect in deadly 2015 Paris terror attacks told a court he never killed or wounded anyone
Wednesday, 9 February 2022
US-Iran talks near endgame: Here's what to look out for
Pope Benedict asks forgiveness but denies wrongdoing over child sex abuse cases
Canadian protesters block access to major border crossing as demonstrations against Covid-19 measures continue
Three Palestinian militants killed in Nablus in Israeli counter-terror operation
Trailer for World Premiere 1341 FRAMES OF LOVE AND WAR - Doc portrait of war photographer Micha Bar-Am
Trailer has now been released for Berlinale World Premiere 1341 FRAMES OF LOVE AND WAR (World Premiere, Berlinale Special Section), a documentary portrait of one of the world’s most important living war photographers, Micha Bar-Am.
Festival Trailer (JUST RELEASED):
Born in Berlin in 1930, Israeli photojournalist Bar-Am became an internationally recognized photographer in the 1960’s. Today, at the age of 91, he looks at his photographs anew, wondering aloud with emotion and urgency why he photographed, and what his images reflect about humanity and history. FRAMES is an examination of his remembrance as he grapples with the ethics of documenting war imagery and how it has affected him.
Composed entirely of archival images taken by this acclaimed Israeli photo-journalist over fifty years, his illustrious career is recounted as a dual voice-over: that of Micha and his wife Orna, the dedicated archivist who has become her husband’s memory.
FRAMES reveals the enormous psychological price that comes with documenting war and and other human atrocities.
1341 FRAMES OF LOVE AND WAR is written and directed by internationally celebrated Israeli filmmaker Ran Tal (Children of the Sun, The Museum, The Garden of Eden, What If? Ehud Barak on War and Peace).
Born in Berlin in 1930, Bar-Am found his lifelong career as a new immigrant in Israel in the early 1950’s. His photographs depict diverse images of the struggles of a new nation and its ongoing wars and conflicts and much more, including celebrated personal images of his family in the most private moments.
The events and wars he doggedly pursued with his Leica camera have become internationally known, iconic images. He became a member of the celebrated Magnum collective, co-founded the International Center of Photography in New York with Cornell Capa, and his photographs have graced countless covers of the world’s major magazines.
Documentary | Israel-UK-USA | 2022 | 89 min | B/W & Color Hebrew, German with English Subtitles
World Sales: Reservoir Docs (excluding North America & Canada, Israel, Greece, Portugal) Filmmakers selling North America & Canada, Israel, Greece, Portugal
2022 Berlinale Sun Feb. 13, 14:00 Akademie der Künste (World Premiere) Sun Feb. 13, 21:00 Cineplex Titania Mon Feb 14, 9:00 CinemaxX 2 (Industry) Mon Feb 14, 20:30 Cubix 7 Fri Feb 18, 15:00 Cubix 6 Fri Feb 18, 15:00 Cubix 5
Writer/Director: Ran Tal Editing: Nili Feller Producer: Sarig Peker, Ran Tal Executive Producers: Nancy Pomagrin, Yael Melamede Principal Cast: Micha Bar-Am, Orna Bar-Am, Barak Bar-Am, Nimrod Bar-Am
FILMMAKER BIO: One of Israel’s leading documentary filmmakers, Ran Tal was born in Israel in 1963. His documentaries use a social and historical perspective to focus on today's modern life. He has won numerous national and international prizes including Israel’s Ophir Award. He currently leads the documentary filmmaking programme at the Steve Tisch School of Film and Television, Tel Aviv University. He is also founder and editor of “Takriv”, an online magazine dedicated to documentary film. His acclaimed documentaries include: 1996 Malka Lev Adom (Skin Deep); short film 1999 Derech Ben Tzvi 67 (67 Ben Tzvi Road) 2005 Beit Chalomotay (My Dream House) 2007 Yaldey Hashemesh (Children of the Sun) 2008 Shuv Nolad (Born Again) 2009 Gitai Mechapes Et Hacarmelb (Gitay in Search for His Carmel) 2012 Gan Eden (The Garden Eden) 2016 Zman Yehudi (Jewish Time) 2017 Hamozeon (The Museum) 2019 Shanim Shel Tikva (Years of Promise and Rejection) 2021 Ma Haya Eilu. Ehud Barak Al Milchma VeShalom (What if? Ehud Barak on War and Peace)1341 Framim Mehamatzlema Shel Micha Bar-Am (1341 Frames of Love and War).
More info at https://www.ran-tal.com.
|
from Filmfestivals.com - Hollywood, Independent, Shorts, Videos, Documentary https://ift.tt/HIDZNrq
via gqrds
US report finds Mexico is dominant source of fentanyl trafficked into US
Tuesday, 8 February 2022
India's Gautam Adani unseats Mukesh Ambani as Asia's richest billionaire
Kashmir journalist arrested under India's anti-terror laws
Macron meets with Putin
Monday, 7 February 2022
PriceRunner sues Google for 2.1 billion euros
Facebook has successfully overhauled its business before. This time will be harder
Why there's no need to fear a bear market
The big reason the US and UK are facing such a massive labor shortage
One of the world's most popular countries is reopening its doors this month
Prince Andrew to give statement under oath
Senegal beats Egypt to win Africa Cup of Nations trophy
Sunday, 6 February 2022
Colombia struck a peace deal with guerrilla groups years ago. So why is violence surging?
Costa Rica mandated Covid-19 vaccines for children. But not everyone's on board
Why China won't put its economy on the line to rescue Putin
Opinion: France is on a dangerous collision course with its Muslim population
Rotterdam may dismantle historic bridge for superyacht reportedly owned by Jeff Bezos
France launches inquiry after spill of over 100,000 dead fish off Atlantic coast
Afghan mom had to decide whether to forgo escape -- or leave some of her kids behind
Saturday, 5 February 2022
Iceland to end whaling from 2024 amid controversy and falling demand
Turkey President Recep Tayyip Erdogan and wife test positive for Covid-19
Analysis: No one knows what to do about Boris Johnson
'Sleeper cells and hundreds of fighters': Why ISIS remains a terrorist threat
It's been 70 years since the Queen took the throne, but she's not celebrating yet
Suspected Chinese hackers hit News Corp with 'persistent cyberattack' in January
Ice that took roughly 2,000 years to form on Mt. Everest has melted in around 25 years
Friday, 4 February 2022
4 of Boris Johnson's key aides quit, marking latest blow for the UK PM
'No admission of guilt': UK virginity testing ban opens historical wounds
Xi's Olympic guest list heavy on strongmen and autocrats
Alex 'Chumpy' Pullin still a 'presence' among Australia's Olympic snowboarding team following his death
Thursday, 3 February 2022
Afghan universities reopen to female students but with strict rules on mixing
UAE intercepts and destroys 3 'hostile' drones
As relations deteriorate with the West, Putin and Xi are getting closer
Wednesday, 2 February 2022
The worst start to the year for stocks since 2009
China's biggest Lunar New Year release is another Korean War propaganda movie
European country lifts all restrictions, saying Covid is no longer a 'socially critical sickness'
Disaster-hit Tonga goes into lockdown after recording first local Covid cases
In eastern Ukraine they don't expect an invasion, but people are watching
Putin says the West has 'ignored' Russia's key concerns over Ukraine
At least 22 dead in Ecuador landslide
West African bloc ECOWAS says coup attempt underway in Guinea-Bissau
Tuesday, 1 February 2022
Myanmar's coup leaders tried to crush resistance. One year on, it's stronger than ever
Theresa May savages Boris Johnson over parties scandal
Minnie Mouse has a new look
Sundance Film Festival 2022 - Interview with Amy Berg, Director of PHOENIX RISING
CV You must be very busy today~
AB Yeah, it’s so weird. I’m just not used to having a premiere and a film festival experience where you’re not with anybody. It’s like I’m busy, but it’s so different.
CV I hear ya!
I'd like to just start out with some questions about you as a filmmaker-
What is your criteria into making the decision that you are going to make a documentary? What is needed for you?
I would think you might get a lot of pitches, you’re out there and you read a lot. What is it that makes you say, ‘I’m going to make this documentary"?
AB I definitely take my time in assessing a film and the elements that are available to me - such as the archive; the subjects that I can interview; characters in the film; and I just really need to flesh out the story and make sure that I’m on board.
Often people have done a lot of research before they come to me and they want to tell a story, and I just want to check it out from my own standpoint and make sure that I can do it justice.
I put a lot of time into every film that I make. Usually I always try to make a film in a year - and it always takes three - so if I’m going to spend three years on something I want to make sure that I can live with it and then I can tell the story properly.
CV What do you strive for with your films?
Do you have the thought at the beginning of when it’s completed and the world sees it, it will have a certain impact?
AB Since the first film I made, Deliver Us From Evil, I've always wanted to make sure that there’s an emotional experience that the audience can go on. I guess my measure for that is if I’m still feeling emotional about everything that’s in the film after spending so much time with it, then usually it’s a successful film.
And so I really do try to capture that narrative from an emotional standpoint.
CV Tell us about the title of this documentary. What does it mean?
AB The phoenix is the mythological character that rises from the ashes and prevails; and Evan named the legislation that they coauthored the Phoenix Act. And so we kind of looked at her as a phoenix in this journey that she went on in the state of California to change the domestic violence laws.
CV How did this all come about - how did the doc come together? Did you have an outline of sorts?
Some of this had already happened…Can you give us a bit of a timeline on how it came together?
AB I always try to have an outline and try to write a lot before I start a film. But you never really follow a script, you know- I think that’s just for my research. I read everything and watch everything, and really try to come up with a script so to speak so that I can know that I have a beginning, middle and end; but I’m always surprised once you start filming you just kind of follow the story and see where it goes.
We fortunately had a great story to follow here, but initially Evan and I were just talking about making a film about the Phoenix Act and domestic violence in California. The story got much larger when her journey led her toward naming her abuser and trying to elevate the voices of the survivors of Brian Warner’s abuse, as well as domestic violence survivors in California.
CV When did this all begin?
AB We started following her in the summer of 2019, kind of unofficially just to see where things were going with the state legislature. And then we really started shooting the film in the summer of 2020. So we were shooting for about a year and we’ve been editing since the winter of 2020.
CV What were the unique challenges with this film? I have heard she is a very private person..
AB I have known Evan for many years so we were able to have some short hand in that way where there was already some trust there; but the challenges in this project really I would say were around the content: It’s very dark. Abuse is dark - no matter how you look at it. This story had really dark elements. You see quite a bit of archive in the first half, we have a lot of archive behind-the-scenes footage. It’s really dark content.
I’m a Jewish woman, it’s hard to watch this antisemitic rhetoric and racism, and all of the violence against all of the different people in his life. It was heavy content, and trauma is heavy, you know?
CV How does that come off as entertaining? It’s baffling to me that people found it entertaining..
AB There’s an article in Rolling Stone 2015 where they list out his most shocking moments. It lists his shock antics that he was imposing on his victims. He was doing everything in public and it wasn’t taken very seriously, even by the media.
CV The other challenge I would think is that he is a very public figure. It’s out there now, there are devoted fans, he is powerful in the entertainment business. And legally the challenges: I know you’ve dealt with legalities before..
AB Like on every film I’ve made!
CV Is this any different?
AB. Well yeah, of course this is different. I have an incredible attorney, and he checks every single frame throughout the film. We are very covered.
And HBO is used to this as well.
CV There’s a documentary series at this year’s Sundance that’s similar in a way…about abuse by a high profile entertainer. But he was convicted. “We Need To Talk About Cosby”. Have you seen it?
AB. No, the only film I’ve seen from Sundance thus far is the Sinead O’Connor documentary, “Nothing Compares”. Super powerful.
CV The reason I brought up the Cosby docs series is because in that he’s already convicted; but then unexpectedly he is released from prison during the filming.
Also that this awareness is now coming out in regards to memorialized figures in the entertainment business and accountability.
AB. Yes, we are all responsible. We can’t put people on pedestals that are hurting others it just inflates the issue. I have received quite a bit of mail today - he has an army of fans and they are going to defend him until the end.
CV You’ve had your films at other festivals before. Why is Sundance Film Festival an important one to premiere your films - especially this film in particular?
AB There’s nothing really like Sundance. It’s such a unique festival. The environment obviously adds to the experience, and you’re showing your film to your peers and everyone’s huddled together. The proximity of the festival is a block. It’s a great place to premiere a film.
The audiences are incredible, and it’s a celebration of documentaries. Documentaries are treated in the same category as scripted films, so it’s one of the best festivals in the world.
CV HBO seems to be one of the first to really grasp onto that - to start doing documentaries - buying and producing them.
AB HBO’s great to work with. This is my second time doing a film with them - it’s really a great experience always.
CV How is this Sundance different? In particular, the obvious being that it's not in Park City/in person due to Covid.
Is this possibly better for your film? What are your feelings about that? Is it maybe better some ways that it was done online ….or maybe not? Possibly because more people are seeing it?
AB I think we’re at a disadvantage, because you’re only seeing half of the film, and the film that I made is the experience to see both parts of it. All you’re seeing now is the backstory leading up to when we start following the story. It would’ve been great for people like you to have had the full experience, that will be soon coming in the Spring.
CV So it all is already completed?
AB Yes, we’re still finishing color and sound -we’re still in post but the movie is done.
We found out about Sundance at the end of the year. It just adds a lot of extra time: We have to basically deliver the film two times when you have a festival before your delivery date. So, we had to do a like a quick and dirty mix.
You didn’t see it with the final music, or...a couple of things will change in part one, but mostly it’s done.
CV Can you please speak for Evan? What did she hope the impact of this will be? Again, she's said to be a very quiet, shy, reserved person. What was the impetus for her to do this - to come forward with this?
AB I hesitate to speak for Evan. What I can say is the reason she wanted to make the film in the first place was because she wanted to report a crime and she was outside of the statute of limitations; so her goal is to elevate the voices of those who cannot speak up. She wants justice.
But I think her main goal is just like my main goal is in making this film - it is to educate people about domestic violence so that you can see the warning signs, which we specify clearly in the first part of the film.
CV What was the reaction after last night - the film’s premiere?
AB I’ve got the fans who stand with Manson till the end - I’ve gotten a lot of emails like that.
We got a great response from the media, we got really good reviews.
I don’t know how many people viewed it - I didn’t talk to people after the screening and hear what it meant to them. Those are all the fun things about being at a film festival premiering a film - you get to talk to real people about their experiences. So that’s unfortunate, but here we are. Maybe next year!
CV Well you’ll be getting a lot of texts I’m sure, and emails. I know on the online chat last night after your Q&A there were a lot of people who were responding very positively, and how important it is and what an impact it made on them
AB Thanks Claire
CV So, do you think in the Spring time it’s going to be on HBO?
AB Yes
CV And it will be two parts? What can we expect from the second part?
AB Oh a lot - there is a lot. The whole film takes place in the second part!
It’s longer and it moves fast. It’s an investigation. And it’s a very intimate portrait of what goes on behind the scenes in deliberating over when to speak publicly, and how to grapple with that.
CV Thanks very much. I look forward to seeing that.
Good luck, and thank you for making this.
from Filmfestivals.com - Hollywood, Independent, Shorts, Videos, Documentary https://ift.tt/E14U5yiSX
via gqrds
Metium (flute) of Zeme tribe

-
Admission open for the academic year 2019-2020 at Rani Gaidinliu Memorial Junior College at Boro-Haflong, Dima Hasao, Assam. Free ...
-
source https://www.msn.com/en-in/entertainment/other/nadeem-opens-up-on-the-wish-that-remains-unfulfilled-as-one-half-of-the-musical-duo-s...