A 360 Degree Guide to Film Festivals

 A 360 Degree Guide to Film Festivals

10th Jan 2021, Book A workshop, Namrata Joshi

A two hour online discourse celebrating the film festivals across the globe- A handbook on how to choose a film festival from the perspective of a critic, a cinephile and a film maker.

The friendly introduction of the participants hinted on the mixed group comprising of movie buffs like me, technical personnel of film festivals, enthusiastic film makers trying to feature their work in festivals and media students. The coordinator from White Wall Screening, moderated the workshop with the speaker Namrata Joshi.

The course started with Namrata addressing couple of questions, what a film festival is and the structure of a film festival. The components of the film festivals - New works, Retrospective programs and Red carpet were touched upon.

The list of global film festivals, the type of films they feature, the credibility of the festivals with the accreditation from FIAPF and the talent fellowships and scholarships associated with particular film festivals, the information proved truly valuable. The usual festivals months in normal times other than pandemic was handy and the pros and cons of the virtual festivals were debated.

The highlight of the workshop was the novel intricate details on Film Restoration and Archiving festivals, Women film maker section in festivals and Children's film festivals, the Film in progress feature, film networking, directory of film agents and producers, the fall festival where small films make a buzz amidst the big ticket films.

The participant's questions were answered at length enabling other participants to understand the operation of festivals from all possible angles. Namrata's personal experience on attending festivals wetted my appetite and I am thrilled for my first experience with the hybrid IFFI 2021.  

Revolutionary Road

 Revolutionary Road

2008, English, Netflix, 7.3/10 IMBD, Directed by Sam Mendes

An edgy intricate drama, detailing the conflicts of an unhappy marriage of a couple that inflict heartache in them both. Apart from being emotionally draining, it urges to look within.

Adapted from a 1961 novel by Richard Yates, this period film set in the 1950's. It is about 'The Wheelers', Frank and April (Leonardo DiCaprio and Kate Winslet). Their ups and downs in the suburban Connecticut at No.115, Revolutionary Road is the story.

The milieu of suburban societal pressures of the 50's is evident in the couple's aspiration to be different among the ordinary. Frank sulks of his mundane job. An unsuccessful actress, April wants to beat the boredom in their life. She suggests they move to Paris, where she can work and Frank can find his passion. It doesn't interest him at first but April's conviction to the idea, convinces him. Their plan topples as April gets pregnant and Frank is offered a promotion. It results in flaring up their mutual disrespect and ends in a complete disaster.

The shockingly neurotic arguments seems a magnified version of a normal relationship tiff of any household. But somewhere it relate the petty ones that each one of us had faced day in and day out. The actors brings to play such skillful acting, that it gives a peek into the character's state of mind. Hurtling insults, furious words and overlapping dialogues, leaves the audience dumbstruck to witness the frustration in them, surface as sadism.

The mysterious calm after a storm of emotions, is pretty haunting and a turn of events seems inevitable. Erring expression on Leonardo's face, is spot on in exhibiting his guilt. He is puzzled to be spoilt for choices at breakfast and he leaves to work all confused. One could hardly stomach what transpires after Frank leaves home.

The mental agony of the western household women of the 50's, is no different from the plight of the women in the 20th century India. The attention deprived women's arrogant blunder and its consequences are the highlights of the film's end. Frank is left alone to watch his children play, as the credits scroll. The film's core plot is set right, by the strong message the last frame conveys.

Winter Film Appreciation mentored by Arunaraje Patil

 Winter Film Appreciation mentored by Arunaraje Patil

23 November to 19 December 2020, FTIIONLINE, Film and Television Institute of India, ARUNARAJE PATIL

A well structured comprehensive masterclass, that left a remarkably lasting impact in making the journey of a cine enthusiast like me, complete.

The Course Director looked effortless, at the helm of affairs. The most interesting fact about the course was, Arunaraje Ma'am's experience in the industry for more than half a century while 90 percent of the participants in the course were in their twenties and thirties. I was elated by the coming together of the younger generation, in an attempt to learn the art of appreciating films, from the grandmaster herself, who has five national awards in her kitty.

The seamless structure cruised through the basics on how films are made, aptly demonstrated using crash course videos on all possible departments of film making.

The broader aspect of 'Mise en scene' was decoded element-wise for deeper understanding- Tools of cinematic language and expressions, Character back stories, Cinematography, Dialogues, Production design, Creative use of sound and Use of Music.

Movements in cinema- German expressionism, French New wave and Italian Neorealism were addressed. Films that we watched in correspondence to the lectures that we were introduced, helped me visualize the theoretical aspects better. All participants actively sharing the observation of each film, was an unique experience. It added newer dimension to the films, just by listening to each of the participant's perspective.

The Male gaze on how women are perceived worldwide, the standards and judgement and Semiotics were novel course components that shaped and mentored the film analyst in me.

The Director's shot division was captivatingly explained using Aruna Ma'am's personal diary on each of her films. I was intrigued by the amount of meticulous detailing that goes in to the planning.

Apart from giving the detailed insight of her film making process, Ma'am slid in excerpts of life education. The course not only made me aware of the nuances of film techniques, but it also equipped and empowered me as an positive individual.

The Guest speakers - Saibal Chatterji, Amit Thyagi, Manu Chakravarthy, Karan Bali and Anup Singh, power-packed the sessions with their knowledge and knowhows.

Even weeks after the course, Ma'am's voice keeps lingering. I am pondering on her shooting experiences and the challenges she faced. I seem to be reflecting on the art of 'Listening', rather than just 'Speaking'. She has just left a great impact on both my film world and my personal world.

For some reason, my inner voice kept echoing the word 'Tāyi', which I googled to find what it meant in ma'am's mother tongue, Kannada. It meant 'MOM". Yes, 'Tāyi' does seem synonymous to Arunaraje Ma'am.  

Appreciation of Indian Cinema by Karan Bali

 Appreciation of Indian Cinema by Karan Bali 

5-23 October 2020, FTIIONLINE, Film and Television Institute of India, KARAN BALI

The most popular course by the stalwart coordinator on FTII platform turned out to be the a tribute to 'The Indian Cinema Phenomena'.

The OTTs had been surging as an alternate movie watching experience, albeit never a substitute for the theater going experience. The pandemic made the OTTs the only source to celebrate films. Amidst this new-wave in the film enthusiast routine, emanated the FTIIONLINE platform to learn from the master craftsmen.

We may engage ourselves in innumerable avenues of storytelling, but 'listening' to stories of our roots will remain dear to us. This course precisely did that to me.

The course plummeted straight away in to the archives of the pioneering institution. The uninterrupted flow of lectures by the sagacious Karan sir, established him as the Encyclopedia of Indian Cinema, in accordance to the inauguration speech by the FTII Director.

The course started off with introduction to all the firsts of the industry- First screening of Lumiere Bros at Bombay's Watson Hotel in 1896, first Documentary, first Newsreel, first Advertisement, first Political Documentary, first Song, first Playback, Bioscope tents and the enumeration scrolled at length.

All-inclusive compartmentalization of the lecture, was the strength of the course- 'The Silent Era, Pre-Golden Era of the talkies and studios, Freelancing Era, Golden Age, Pillars of the Golden Age, The end of Golden Age, Decline of films, Parallel Cinema and Advent of Video Cassettes.

The exhaustive coverage of the Indian New wave, Fresh new wave movement, Parallel cinema movement, the Off beat cinema, Documentary, Indian news review, Indie Cinema movement- were rewarding. The parallel state-wise chronological documentation of films from all parts of the country- Bengali, Malayalam, Tamil and Kannada, evoked the larger picture of the Indian Film Industry.

The detailed analysis of doyens of Indian cinema with clips to demonstrate their signature northern styles and made me take pride in the Industry. Karan Bali sir's rhetoric narration rocketed the course. His passion and enthusiasm were super addictive. It was an exhilarating memorable experience.

The Q&A session everyday was a privilege to interact with Karan Sir. The book recommendations along with the introduction of Upperstall.com , opened new windows of learning.

A sincere gratitude to people like you Karan Sir, who transfer the baton to the next generation to keep the legacy longstanding. May your clan increase. 

Catdog

 Catdog

2020, Hindi, YouTube, First Prize at Cannes 2020, Directed by Ashmita Guha Neogi -2013 Student Diploma Film of FTII (Film and Television Institute of India, Pune).

A shocking revelation of the evilness in unattended children and whose emotional needs are not catered promptly.

The core plot revolves around children unleashing their duality similar to adults, when left alone. Its something like the animation world of Toy Story series, where the toys have their own lives, choices, likes and dislikes. But this isn't by that cute standard here. It's a miniature representation of the world of adults. Children aren't those naïve innocent bundle of joys that we take them to be, the film claims. Especially in the technology driven world that we live in right now, we silently acknowledge to ourselves.

A teacher, a single parent has very little time to spare for her kids- Rachana, a teen daughter and her little brother. The kids seem to have their own lives. Their time in the woods seems such a relief, as they are away from the addictive gadgets, you are left to presume.

Rachana's science text doesn't fascinate her any longer. The mischievous duo set the cats in an old woman's house to trouble her, a regular feature in Indian cinema.

As we become restless for the prize winning moment of the film to unravel, there it comes. The heart wrenching obnoxious role play in the absence of their mother. The sequence is alarmingly unpalatable, immaterial whether you are a parent of a kid that age or not.

The overlapping TV commentary hints that the behavior might have been influenced by the shows on the TV about animals. Her mom's affair, fuels Rachana's preexisting psychological distress, as she keeps prying. The story weighs on the responsibilities of parents to provide undivided attention to the children. It's not what they watch, it's who is guiding them through what they watch seems to be emphasized.

Hide and seek with a polybag covered face is a freaky musical the siblings play. Rachana is left deprived of companionship as the scene ends poetically with her little brother moving to boarding school. As they are separated, one is weirdly reminded of the two headed snake's story they discuss in the woods.

Restricting TV time and monitoring the content looks insufficient if there is no parental guidance at all time. It poses even a bigger threat for the broken families and where both parents work full time. The film is a wakeup call as it addresses the state of emergency as these mishaps in child upbringing are directly proportional to the crimes and abuses of society at large.