Showing posts with label Movies. Show all posts
Showing posts with label Movies. Show all posts

Sunday, July 29, 2012

Gangs of Wasseypur (part 1) by Anurag Kashyap


Casting: Jaideep Ahlawat, Manoj Bajpai, Nawazuddin Siddiqui, Richa Chadda, Huma Qureshi

Summary:

PART I: Towards the end of colonial India, Sahid Khan loots the British trains, impersonating the legendary Sultana Daku. Now outcast, Shahid becomes a worker at Ramadhir Singh's colliery, only to spur a revenge battle that passes on to generations. At the turn of the decade, Shahid's son, the philandering Sardar Khan vows to get his father's honor back, becoming the most feared man of Wasseypur. Staying true to its real life influences, the film explores this revenge saga through the socio-political dynamic in erstwhile Bihar (North India), in the coal and scrap trade mafia of Wasseypur, through the imprudence of a place obsessed with mainstream 'Bollywood' cinema

PART II (not released in France yet): Wasseypur is no more the town that was once consumed by the raging war between Sardar Khan and Ramadhir Singh. It has spawned a new generation of money squandering lobbyists, turning into foolhardy gangs overnight. With illegal profiteering through scrap trade auctions over the Internet, corrupt government officials, election rigging and hooliganism, the town got murkier. Everyone wanted alliance with the most powerful man of Wasseypur, Faizal Khan. His sole ambition however, is to annihilate Ramadhir Singh, the man with the grand scheme. Gangs of Wasseypur-Part 2 is a fitting conclusion to this story of vengeance, which by now, not just the family but also this town has come to inherit.

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Official website:

http://www.wasseypurworld.com/index.php
Reviews: 


Les Inrockuptibles: Une saga du gangstérisme indien qui se hausse à la hauteur de Scorsese et de Coppola.

http://www.lesinrocks.com/cinema/films-a-l-affiche/gangs-of-wasseypur-part-1/
Le Monde: Dans les mines de Wasseypur, les fils de gangsters se rêvent en fils de Bollywood

http://www.lemonde.fr/culture/article/2012/07/24/dans-les-mines-de-wasseypur-les-fils-de-gangsters-se-revent-en-fils-de-bollywood_1737661_3246.html
Libération: «Les Gangs» dégomme à tout-va

http://next.liberation.fr/cinema/2012/07/24/les-gangs-degomme-a-tout-va_835363
Ecran Large:
http://www.ecranlarge.com/movie_review-read-30694-162601.php
The Guardian: The new Indian cinema: sex, crime and censorship
http://www.guardian.co.uk/film/2012/jun/21/new-indian-cinema-censorship
The Times of India: Gangs of Wasseypur

http://timesofindia.indiatimes.com/entertainment/movie-reviews/hindi/Gangs-of-Wasseypur/movie-review/14316491.cms
The Hindu: Gangs of Wasseypur : Part-time Avenger

http://www.thehindu.com/arts/cinema/article3562918.ece
Trailer (with French subtitles): 



Thursday, July 12, 2012

Les Enfants de Belle Ville (The Beautiful City / Shah-re Ziba) by Ashgar FARHADI


Les Enfants de Belle Ville (The Beautiful City / Shah-re Ziba) by Ashgar FARHADI

Plot:

Akbar has just turned eighteen. He has been held in a rehabilitation centre for committing murder at the age of sixteen when he was condemned to death. Legally speaking, he had to reach the age of eighteen so that the conviction could be carried out. Now, Akbar is transferred to prison to await the day of his execution. A'la, a friend of Akbar, who himself has undergone imprisonment for burglary, soon after his release tries desperately to gain the consent of Akbar's plaintiff so as to stop the execution.

Other links: 

 The New York Times (review):
http://www.nytimes.com/2006/03/15/movies/15beau.html?_r=2&oref=slogin
 Le Monde (review):

Libération (review):
http://next.liberation.fr/cinema/2012/07/10/saints-jeunes-perses_832408

Télérama (review):
http://www.telerama.fr/cinema/films/les-enfants-de-belle-ville,434279.php
Les Inrockuptibles (review)

http://www.lesinrocks.com/cinema/films-a-l-affiche/les-enfants-de-belle-ville/

Asghar FARHADI 
http://en.wikipedia.org/wiki/Asghar_Farhadi

Monday, July 02, 2012

TRISHNA by Michael WINTERBOTTOM


Based on Thomas Hardy's classic novel Tess of the D'Urbervilles, Trishna tells the story of one woman whose life is destroyed by a combination of love and circumstances. Set in contemporary Rajasthan, Trishna (Freida Pinto) meets a wealthy young British businessman Jay Singh (Riz Ahmed) who has come to India to work in his father's hotel business.

After an accident destroys her father's Jeep, Trishna goes to work for Jay, and they fall in love. But despite their feelings for each other, they cannot escape the conflicting pressures of a rural society which is changing rapidly through industrialisation, urbanisation and, above all, education. Trishna's tragedy is that she is torn between the traditions of her family life and the dreams and ambitions that her education has given her.

ref: Wikipedia

other links:
on Freida PINTO: 
on Riz AHMED: 
The Guardian (reviews):
The Hindu (Michael Winterbottom's interview):
 Le Monde (review):
L'Express (review):
Trailer (with French subtitles):




Monday, October 17, 2011

Jafar Panahi: a very brutal and very harsh sentence confirmed

Iran's "regime" (political, religious and judicial leaders) has confirmed the very harsh and very brutal sentence on Jafar Panahi:

ARTE News (Oct 15, 2011 - 7 pm):



Source: http://videos.arte.tv/fr/videos#/tv/coverflow///1/100/

Friday, September 23, 2011

"Ceci n'est pas un film" de Jafar Panahi et Mojtaba Mirtahmasb


Source: ARTE 


"Ceci n’est pas un film" de Jafar Panahi et Mojtaba Mirtahmasb
"Ceci n’est pas un film" voilà un titre on ne peut plus adapté à la situation de Jafar Panahi, réalisateur iranien à qui le régime de Ahmadinejad a interdit d’exercer. Et puis, comment ne pas se rappeler des œuvres de René Magritte « Ceci n’est pas une pipe » par exemple.
L’année dernière, Panahi n’avait déjà pas pu se rendre sur la Croisette. Aujourd'hui, il est condamné par Téhéran à 6 ans de prison et 20 ans d’interdiction d’exercer. Si Panahi ne croupit pas dans les geôles iraniennes, il le doit uniquement à la procédure d’appel engagée par ses avocats. Le monde du cinéma espère aujourd'hui encore que sa peine soit au moins réduite, mais personne n’ose croire à l’acquittement.
Pour essayer de tromper l’attente, le réalisateur fait ce qu’il sait faire de mieux : il tourne. Mais pas pour braver l’interdiction du régime autoritaire, il connait trop bien les risques. Non, il s’agit pour lui plutôt d’une sorte de thérapie pour lutter contre le désespoir qui le guète. Pour respecter l’interdiction d’exercer son métier de réalisateur et de scénariste, il demande à Mojtaba Mirtahmasbzu, spécialiste du documentaire, de venir lui rendre visite chez lui. Devant la petite caméra numérique de son collègue, Panahi se livre à des improvisations intéressantes : il montre des extraits d’anciens films, et aborde ainsi la question de la valeur de ses œuvres passées. Il met également à l’épreuve son dernier scenario, une histoire d’ores et déjà frappée par la censure.
L’histoire de ce « non-film » peut être résumée ainsi : une jeune femme voudrait faire des études d’art, mais pour l’en empêcher, ses parents l’enferment dans une petite pièce. Symboliquement, Panahi dessine les contours de cette geôle sur un tapis, avec du ruban adhésif. Et pendant qu’il décide des détails techniques du film avec son collègue, la vie revient. Le cinéma devient donc comme une sorte de fontaine de jouvence, même dans les moments les plus difficiles : le cinéma est plus fort que toutes les peurs, toutes les oppressions. Tout à la fin du film – qui n’est officiellement pas de lui – Panahi n’y tient plus et reprend la direction des opérations. Il se saisit de la caméra et mène une interview improvisée d’un étudiant dans l’ascenseur. Autant de signes de vie, de création artistique qui sont comme des bouffées d’air pur face à un régime qui croit pouvoir imposer le silence et l’oubli. Et Panahi n’a pas envie de se laisser faire : son courage, son honnêteté sont un exemple pour chacun de nous.

Texte et sujet : Martin Rosefeldt

Thursday, September 08, 2011

Film iranien "Au Revoir" ("Bé Omid E Didar") de Mohammad RASOULOF


Acteurs: Leyla Zareh, Fereshteh Sadreorafai, Shahab Hoseini
Source:  
ALLOCINE.FR
http://www.allocine.fr/film/fichefilm_gen_cfilm=193542.html

Sortie en salles à Paris à partir du 07/09/2011



Source:  ARTE.TV
http://videos.arte.tv/fr/videos/_be_omid_e_didar_au_revoir_de_mohammad_rasoulof_-3908136.html

Autres infos et liens concernant ce film: 

RUE89: "Rasoulof, cinéaste iranien : « Ils disent que je suis un traître »", un article de Olivier De Bruyn (07/09/2011)
http://www.rue89.com/zoom-avant/2011/09/03/rasoulof-cineaste-iranien-ils-disent-que-je-suis-un-traitre-220403

LE MONDE: "Rasoulof retenu en Iran, Malick attendu à Cannes" (15/05/2011)
http://festivalcannes.blog.lemonde.fr/2011/05/15/rasoulof-retenu-en-iran-malick-attendu-a-cannes/

LE FIGARO: "Mohammad Rasoulof, le résistant", un article de Emmanuèle Frois
http://www.lefigaro.fr/cinema/2011/09/06/03002-20110906ARTFIG00693-mohammad-rasoulof-le-resistant.php

TELERAMA: Mohammad Rasoulof : “Cette scène d'Au revoir, je l'ai vécue”, un article et des propos recueillis par Laurent Rigoulet
http://www.telerama.fr/cinema/mohammad-rasoulof-cette-scene-d-au-revoir-je-l-ai-vecue,72660.php
THE NEW YORK TIMES / The Lede

"Iranian Filmmaker Speaks Out on Prisoners" by Robert MACKEY
http://thelede.blogs.nytimes.com/2010/03/09/iranian-filmmaker-speaks-out-on-prisoners/
WIKIPEDIA: Mohammad Rasoulof
http://en.wikipedia.org/wiki/Mohammad_Rasoulof

 

 

Wednesday, June 08, 2011

Maudite Pluie! un film de Satish Manwar


Inde. De nos jours.

Kisna et Alka s’aiment et affrontent ensemble le sort difficile que leur réserve leur vie d’agriculteurs dans la région du Maharashtra, en Inde. En effet, les sécheresses à répétition poussent un grand nombre de paysans ruinés au suicide.

Alka, craignant que son mari ne subisse le même sort, convainc son entourage d’établir une "garde rapprochée" pour veiller sur lui. Malgré la sécheresse redoutée, Kisna continue à cultiver sa terre, mais chacun de ses faits et gestes est désormais au centre des plus grandes inquiétudes. Surtout lorsque la pluie tarde à arriver...(présentation extraite du site du film www.mauditepluie.com)



http://www.mauditepluie.com/







ces extraits vidéos proviennent du site d'Allociné (http://www.allocine.fr)

Friday, February 18, 2011

Le Cercle, un film de Jafar Panahi, cinéaste iranien (diffusée sur ARTE le 16/02/11)

Un judas s'ouvre dans la porte d'une maternité, où s'encadre le visage d'une infirmière : une petite fille vient de venir au monde. Trois jeunes femmes, tout juste libérées de prison, doivent quitter Téhéran, mais ne disposent pas des papiers nécessaires. Une autre, dont l'amant a été exécuté, veut à tout prix avorter. Une femme d'âge mûr se voit imposer une coépouse par son mari...
(présentation extraite du site d'ARTE)

Extrait:
 

Pour voir ce film GRATUITEMENT, cliquer sur ce lien (accès gratuit jusqu'au 23/02/11):

http://videos.arte.tv/fr/videos/le_cercle-3702414.html

Friday, August 28, 2009

Eté indien au musée Guimet (cinémas marathi et malayalam)


Voici le programme très intéressant de l' "Eté indien" (cinémas marathi et malayalam) du musée Guimet à Paris du 07 septembre au 30 octobre 2009:

http://www.guimet.fr/ETE-INDIEN-2009-6eme-edition

C'est vraiment dommage pour les horaires (en plein milieu de la journée!)...mais le vendredi 30 octobre, la séance est à 20h30.

Tuesday, June 09, 2009

Projection du Film "Gandhi, My Father" à La Sorbonne le mardi 23 juin à 19h (entrée gratuite - sur invitation uniquement)


































Projection du film Gandhi, My Father de Feroz Abbas Khan
(produit par Anil Kapoor) avec Akshaye Khanna et Darshan Jariwala en version originale (Hindi) sous-titrée en anglais à l'amphi Milne Edwards à La Sorbonne (17 rue de la Sorbonne, 75005 Paris / Metro-RER: Luxembourg ou Saint-Michel) le mardi 23 juin 2009 à 19h.

[Voir messages ci-dessous pour les liens et la bande-annonce]

Entrée gratuite (sur invitation uniquement): prière de m'écrire pour recevoir cette invitation car le nombre de places est limité à 70 personnes.

Pour les personnes qui ne sont pas enseignants, étudiants ou membres du personnel administratif de La Sorbonne, il faut une lettre d'invitation pour pouvoir entrer à La Sorbonne, prière de m'écrire pour recevoir cette invitation gratuitement: mounirnassor@yahoo.co.in

Cette lettre d'invitation vous sera adressée dans les 24 heures par email.

Nombre de places limité à 70 personnes.

Trailer / Bande-annonce:



Links:
  • The Mahatma and his son
http://www.hinduonnet.com/thehindu/mag/2007/07/22/stories/2007072250130200.htm
  • Feroz Abbas Khan's thoughts on Gandhi
http://www.bollywood.com/node/1352
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http://www.hinduonnet.com/thehindu/fr/2007/08/03/stories/2007080350670100.htm

http://www.hinduonnet.com/thehindu/fr/2007/07/06/stories/2007070650760400.htm

http://www.hinduonnet.com/thehindu/fr/2007/08/10/stories/2007081050720400.htm

http://gandhimyfather.erosentertainment.com/

http://www.ferozkhan.com/

http://en.wikipedia.org/wiki/Gandhi,_My_Father

http://www.gandhimyfather.blogspot.com/

http://www.gandhitopia.org/group/mgnd/forum/topics/anil-kapoor-premieres-gandhi

http://www.slantmagazine.com/film/film_review.asp?ID=3001

http://www.channel4.com/film/reviews/film.jsp?id=162428&section=review

http://www.upperstall.com/films/2007/gandhi-my-father

http://www.upperstall.com/films/2007/gandhi-my-father

http://www.guardian.co.uk/film/2007/aug/05/worldcinema.drama

The Making of Gandhi My Father (mostly in Hindi):

Tuesday, May 26, 2009

Projection du Film "Parzania" à La Sorbonne le mardi 02 juin à 19h (entrée gratuite - sur invitation uniquement)






















Projection du film Parzania de Rahul Dholakia avec Naseeruddin Shah en version originale sous-titrée en anglais à l'amphi Milne Edwards à La Sorbonne (17 rue de la Sorbonne, 75005 Paris / Metro-RER: Luxembourg ou Saint-Michel) le mardi 02 juin 2009 à 19h.

[Voir messages ci-dessous pour les articles (extraits) et liens et la bande-annonce]

Entrée gratuite (sur invitation uniquement): prière de m'écrire pour recevoir cette invitation car le nombre de places est limité à 70 personnes.

Pour les personnes qui ne sont pas enseignants, étudiants ou membres du personnel administratif de La Sorbonne, il faut une lettre d'invitation pour pouvoir entrer à La Sorbonne, prière de m'écrire pour recevoir cette invitation gratuitement: mounirnassor@yahoo.co.in

Cette lettre d'invitation vous sera adressée dans les 24 heures par email.

Nombre de places limité à 70 personnes.

Parzania (2005) by Rahul Dholakia

http://en.wikipedia.org/wiki/Parzania

http://www.upperstall.com/films/2005/parzania

http://www.flonnet.com/fl2404/stories/20070309001608200.htm

http://www
.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2007/02/25/MNGGKOAR6A1.DTL&type=politics

http://www.hindu.com/2005/12/03/stories/2005120303661300.htm

http://in.rediff.com/movies/2006/aug/30rahul.htm

http://www.nytimes.com/2007/02/20/movies/20parz.html?_r=4&oref=slogin


http://www.telegraphindia.com/1070124/asp/calcutta/story_7303025.asp#

http://in.rediff.com/movies/2006/aug/31rahul.htm

http://timesofindia.indiatimes.com/articleshow/2266215.cms

http://timesofindia.indiatimes.com/Cities/Ahmedabad/Flicker_of_hope_for_Parzania_in_Gujarat/articleshow/1489796.cms

http://timesofindia.indiatimes.com/Cities/Ahmedabad/Gujarat_will_see_Parzania_if_Bajrangi_says_OK/articleshow/1559020.cms

http://www.hindu.com/mag/2007/08/26/stories/2007082650130500.htm

http://www.thehindu.com/2007/01/27/stories/2007012719171500.htm

http://www.indianexpress.com/news/bad-business-say-theatres-no-parzania-in-g/21792/

A summary:

Parzania is the story of an event that changed the country and the world forever. An American,Allan Webbings (Corin Nemec) arrives in Ahmedabad city. Allan has been searching for answers, praying to find both internal peace and understanding of the horrors that religious difference can create. For this, Allan has chosen India and Gandhi as his subject. It's here that he meets Cyrus (Naseeruddin Shah), the local projectionist who brings the young and troubled intellectual into his beautiful family. Cyrus is a Parsi, he has a beautiful wife, Shernaz (Sarika), a practical woman who after eleven years still can't resist his charisma and charm; then there are the two children – Parzan (Parzan Dastur) an imaginative ten year old that has developed his own world, the world of ‘Parzania’, where the buildings are made of chocolate and the mountains of ice cream, a world that only his eight year old little sister Dilshad (Pearl Barsiwalla) truly understands. Through Cyrus's family, Allan finds his peace. One morning, the beauty and peace that India is so famous for, is rocked beyond measure, as a bomb explodes in a train at Godhra killing Hindus. Within 24 hours, thousands of Muslims are slaughtered, making that day one of the largest acts of communal violence the country has ever seen. And in the midst of the terror and violence, Parzan is missing. While Cyrus fights for his own sanity and searches for his child, Alan battles to uncover the truth behind the riots. Parzania is inspired by a true story...

[From: www.upperstall.com / www.upperstall.com/films/2005/parzania]

Articles and links:

Missing in Gujarat
By Dionne Bunsha (Frontline - Feb 24/March 09, 2007)

http://www.flonnet.com/fl2404/stories/20070309001608200.htm

Extracts from the article:

It is not surprising that Parzania is not screened in the one place where it is most relevant - Gujarat. Theatre owners are scared to screen the film. In the past too, films such as FanaaRang De Basanti were banned because Aamir Khan, the main actor in both films, took a position against the government on the Narmada dam issue. This displeased the ruling Bharatiya Janata Party and its supporters in the Sangh Parivar. They called Khan an "enemy of Gujarat", and the Bajrang Dal threatened violence if any theatre dared to screen his films. Parzania is a realistic film, and there is a great risk that it may displease the ruling powers. Gujarat's film exhibitors prefer to be safe rather than sorry.

[...]

Instead of tacitly supporting the unlawful `ban', the Gujarat government should encourage the screening of this film and ensure total protection to cinema owners, distributors and viewers. It should take stern legal action against those who have gone on record saying that they will not allow this film to be screened," he added. But, there is little faith in a police force that allowed the carnage of 2002. The police let the mobs take over, and when victims pleaded for help, the response was: "We have no orders to save you." Those who orchestrated the attacks are still free and are powerful political leaders. Many continue their reign of terror.

Film about massacre banned in India state / L.A. director had friend who lost son in Hindu slaughter
By Henry Chu, The Los Angeles Times (Sunday, February 25, 2007)

http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2007/02/25/MNGGKOAR6A1.DTL&type=politics

An extract from the article:

"The police hold the power here, and they abuse it," said Johanna Lokhande of the group Nyayagraha, which works on behalf of the survivors.

Dholakia said making "Parzania" was part of the struggle to ensure that what happened is not forgotten -- and not repeated.

"Sometimes it's necessary to reopen wounds, because the solution to hate is to have a healthy debate and open debate about it," Dholakia said. "It's better to have it out in the open and discuss it. You cannot just avoid it."


Turnout spells success for IFFI
By Sudhish Kamath (The Hindu, Dec 03, 2005)

http://www.hindu.com/2005/12/03/stories/2005120303661300.htm

An extract from the article:

Should a film on such a sensitive issue be made, the director was asked. "Have you heard of gangrene? If you ignore it, it could kill you," replied Rahul as the crowd clapped. When a couple of Rashtriya Swayamsevak Sangh (RSS) supporters accused the director of making a film showcasing violence only by Hindu fanatics, the director replied: "If I was making a film on 9/11, I would have shown Muslim fundamentalists. But this one's on Gujarat." The crowd booed the RSS supporters away and gave the filmmaker another bout of applause. Actor Om Puri came to the support of the director by asking the dissenters: "Have you seen Tamas?"

Parzania director: 2006's National award winner?
(Rediff.com - August 30, 2006)

http://in.rediff.com/movies/2006/aug/30rahul.htm

An extract from the article:

Yeah, it's the story about a friend of mine. I was with the family on January 14, flying kites. One month later tragedy struck, in this form. The complete family which was smiling -- the last image I had of them -- was shattered. And why? For what reason? Because they belonged to another religion? Because somebody else committed a crime somewhere else? So all these things were preying on my mind when I was in the process of releasing Kehta Hai Dil.

And it really affected me at that stage that Gujarat where I am from, where that family is from, which is Gandhi's home state, the so-called non-violence state -- they respect prohibition there because it's Gandhi's state, but you go around murdering people openly and nobody does anything about it? So I felt somewhat responsible both morally and socially and I felt that if I don't speak up as a filmmaker then I don't have any right to tell anyone anything else. I'm as guilty as the people who did it. If we don't speak up, who will?


In India, Showing Sectarian Pain to Eyes That Are Closed
By Somini Sengupta (The New York Times, February 20, 2007)

http://www.nytimes.com/2007/02/20/movies/20parz.html?_r=4&oref=slogin

An extract from the article:

For Mr. Dholakia, 40, the riots were an eye-opener. He was at home in Corona, a small town east of Los Angeles where he lives most of the year, when news broke of the fire and the mob violence that followed. There, in placid Corona, he sat and watched the horror unfold on Indian satellite television.

From members of his own family, Hindus who live in Gujarat, he heard satisfaction over the carnage. “Whatever happened, we taught these Muslims a lesson,” he recalled being told. One of his relatives, a 9-year-old boy, said he wished all the Muslims had been killed.

On the third day of the violence, Mr. Dholakia heard about Azhar, the son of his friend Dara Mody, whom he had met years before when Mr. Mody worked as a projectionist at an Indian movie theater in New Jersey. A Hindu mob had attacked the housing complex where the Modys lived. The Modys are Zoroastrians, not Muslims, but the attackers weren’t particularly discriminating, and in the confusion the boy became separated from his family and disappeared.

Being Cyrus and Shernaz
(The Telegraph – Calcutta - January 24, 2007)

http://www.telegraphindia.com/1070124/asp/calcutta/story_7303025.asp#

An extract from the article:

Naseeruddin Shah:

“I did not go in for any research for the character, in the sense that I did not go meet the family before the film. I thought it would be too painful for them to have actors coming and trying to feel their grief. It was not difficult for me to empathise with them, because after all I too am a parent. Also, I think by trying to depict the tragedy and not project the persons as they are, we have been able to make it more universal,” said Naseeruddin, who plays Cyrus, the distraught father. “All films are not made with the view to draw in the audience and make money. Parzania is a story that needed to be told, and I felt I had to be part of it.”

The most poignant memory of the film for him remains meeting the bereaved family, after the shooting was completed. “When I met them, at the very place from where their son had gone missing, I realised that we have been able to portray the tragedy only to a certain extent. And perhaps projecting the full depth of their grief would have been too much to bear for us and for the audience,” said Naseer.

Will Parzania reach theatres?
(Rediff.com - August 31, 2006)

http://in.rediff.com/movies/2006/aug/31rahul.htm

An extract from the article:

During his diatribe, he compares the Vishwa Hindu Parishad to the Ku Klux Klan. Is that how you see it?

Any form of fundamentalism is wrong. Whether it's Nazi, Bajrang Dal or VHP, Muslim fundamentalists, fundamentalists in Chechnya � any form of fundamentalism is harmful to society. It's not about one religion against another, it's about them (the fundamentalists) against someone else, and as soon as you don't agree with them, you're labelled pseudo-secular and anti-something. And any form of fundamentalism is bad, from Osama Bin Laden to the guys committing the heinous crimes in Gujarat.

‘I’ve matured over the years’ [Sarika]
(The Times of India – August 09, 2007)

http://timesofindia.indiatimes.com/articleshow/2266215.cms

Flicker of hope for 'Parzania' in Gujarat
(The Times of India - January 28, 2007)

http://timesofindia.indiatimes.com/Cities/Ahmedabad/Flicker_of_hope_for_Parzania_in_Gujarat/articleshow/1489796.cms

Gujarat will see Parzania if Bajrangi says OK!
(The Times of India – February 03, 2007)

http://timesofindia.indiatimes.com/Cities/Ahmedabad/Gujarat_will_see_Parzania_if_Bajrangi_says_OK/articleshow/1559020.cms

An extract from the article:

Babubhai Patel, who goes by the name Babu Bajrangi because of his affiliation with the saffron outfit, is the one the Gujarat Multiplex Owner's Association would like to invite at a special screening to be held early next week before they take a decision on whether to release it in cinema halls and multiplexes.

Sources said film-maker Rahul Dholakia was aghast when he was told by association president Manubhai Patel that a go-ahead from Bajrangi was necessary if the cinema halls have to protect themselves from mob attacks.

Intrepid director
By Ziya Us Salam
(The Hindu - August 26, 2007

http://www.hindu.com/mag/2007/08/26/stories/2007082650130500.htm

Parzania not in Gujarat
By Manas Dasgupta
(The Hindu - January 27, 2007)

http://www.thehindu.com/2007/01/27/stories/2007012719171500.htm

An extract from the article:

Parzania, a film based on the 2002 Gujarat riots, was not released in any part of the State on Friday. There was no official word on a ban but exhibitors apparently did not want to take a risk.

The Bajrang Dal had told cinema owners that they themselves should see the film first and decide about screening it "keeping the interest of the State in mind." The film was to have been released in some multiplexes here and theatres in the Kutch and Saurashtra regions.

Bad business, say theatres, no Parzania in Gujarat today
By Tanvir A. Siddiqui
(Indian Express - January 26, 2007)

http://www.indianexpress.com/news/bad-business-say-theatres-no-parzania-in-g/21792/

Tuesday, April 21, 2009

Film "Dus Kahaniyan" à La Sorbonne le 28 avril à 19h

Projection de courts métrages à partir du recueil Dus Khaniyan (« Ten tales » ou « Dix Histoires») en version originale sous-titrée en anglais à l'amphi Milne Edwards à La Sorbonne (17 rue de la Sorbonne, 75005 Paris / Metro-RER: Luxembourg ou Saint-Michel) le mardi 28 avril 2009 à 19h (entrée gratuite).

Il s’agit de dix histoires par 6 réalisateurs différents : Sanjay Gupta, Hansel Mehta, Meghna Gulzar, Jasmeet Dhodi, Apoorva Lakhia et Rohit Roy). Nous n’aurons probablement pas le temps de voir tous très beaux ces courts-métrages, mais nous essaierons d’en voir quelques-uns des plus beaux:

Rice Plate de Rohit Roy avec Shabana Azmi et Naseeruddin Shah
Gubbare de Sanjay Gupta avec Nana Patekar, Rohit Roy, Anita Hassanandani
Puranmashi de Meghna Gulzar avec Amrita Singh, Parmeet Sethi, Minnisha Lamba
Lovedale de Jasmeet Dhodi avec Anupam Kher, Aftab Shivdasani, Neha Oberoi, Anuradha Patel

Pour les personnes qui ne sont pas enseignants, étudiants ou membres du personnel administratif de La Sorbonne, il faut une lettre d'invitation pour pouvoir entrer à La Sorbonne, prière de m'écrire pour recevoir cette invitation gratuitement: mounirnassor@yahoo.co.in

Cette lettre d'invitation vous sera adressée dans les 24 heures par email.

Nombre de places limité à 70 personnes.

Mounir Nassor

Site officiel:

http://duskahaniyaan.erosentertainment.com/


Wikipedia: "Dus Kahaniyan":

http://en.wikipedia.org/wiki/Dus_Kahaniyaan

Hindustan Times (September 22, 2007):
«Gulzar's poetry to embellish Dus Kahaniyan » by Subhash K.Jha


Indiatimes Movies (December 07, 2007):
« Dus Kahaniyan » by Praveen Lance Fernandes

http://movies.indiatimes.com/moviereview/2603068.cms

Thursday, March 19, 2009

Film "Mr and Mrs Iyer " d'Aparna Sen à La Sorbonne (mardi 24 mars à 19h)


Projection du film Mr and Mrs Iyer d' Aparna Sen (entrée gratuite) en version originale sous-titrée en anglais à l'amphi Milne Edwards à La Sorbonne (17 rue de la Sorbonne, 75005 Paris / Metro-RER: Luxembourg ou Saint-Michel) le mardi 24 mars 2009 à 19h.

Pour les personnes qui ne sont pas enseignants, étudiants ou personnels de La Sorbonne, il faut une lettre d'invitation pour pouvoir entrer à La Sorbonne, prière de m'écrire pour recevoir cette invitation gratuitement: mounirnassor@yahoo.co.in

Cette lettre d'invitation vous sera adressée dans les 24 heures par email.

Nombre de places limité à 70 personnes.

Mounir Nassor

Bande-annonce (utiliser Internet Explorer au lieu de Mozilla-Firefox si cela ne fonctionne pas et vice-versa):

An insightful article from The Hindu:

Which Mrs. Iyer?

By Rahul De (published Feb 8, 2003):

[http://www.hinduonnet.com/thehindu/2003/02/08/stories/2003020800041000.htm]

Which Mrs. Iyer do we emulate, the one who is the humanitarian or the one who is the strategist...? I fear the answer to that question.

As I came away from the film "Mr. and Mrs. Iyer" there was one question that I puzzled over for the longest time: why did Mrs. Iyer suddenly claim Raja as her husband? The first answer, the most obvious one, that came to mind was that she wanted to save his life as a humanitarian gesture — a need to protect a fellow human being. And she could do this despite having had doubts about him, earlier, when she had realised that he was a Muslim (while she was a conservative Hindu Brahmin) and had had a despairing moment after realising she had drunk water from a bottle he had touched to his lips. So when some murderous fanatics came into the bus they were travelling in and started picking on the passengers, `testing' the males to see who was a Muslim they could isolate, Mrs. Iyer's reaction was to thrust her child on Raja's shoulder and when the goons asked him about his identity she said he was Mr. Iyer, father of her son. They moved on and picked on a frail old man, whom they killed, while Raja was spared.

Another answer that came to me later was that it wasn't a humanitarian gesture at all, on the part of Mrs. Iyer, but a utilitarian, functional one, wherein she didn't want to lose out on a man who was helping her with her child, and who, till that point, had been the only one in the bus to do so. In a later moment in the film, when they were isolated in a forest guest house, and the violence had come close to them again and Raja said that he wanted to leave, she held him back saying he was the one she and her child, Santhanam, could rely on for safety. He could not walk out on them.

Mrs. Iyer's motives in saving Raja's life are poignant at this juncture in history when many of us are wondering why such a large number of people, many from the educated middle class, joined hands in the genocide and murder and disenfranchisement of thousands of innocent Muslims in the State of Gujarat. After the torching of a train car in Godhra, in which 58 persons were killed, a pogrom of mass extermination was unleashed in a coordinated and planned manner by the Sangh Parivar elements in Gujarat, and this was aided by the educated classes. It is now well documented by several enquiry commissions that officials of the State Government participated in this genocide by preventing the police from protecting citizens and by providing crucial demographic data to the murderers to carry out their deeds with deadly precision. After the carnage Hindu doctors refused to treat patients whom they could discern as Muslims, they were turned away from dispensaries or left unattended on hospital beds, and Hindu lawyers refused to file cases on behalf of Muslim victims who wanted to claim compensation.

After all this, I shivered with anger when I heard the pronouncements of the leaders, who had led the murderers in Gujarat, about the onset of `Hindu Rashtra', `cultural nationalism' and the saving of `Hindu Gaurav'. An outrageous and inhuman rhetoric that fed on the plight of the victims had become an election campaign. As a Hindu who grew up in middle-class India I had never had the feeling that either Hindu pride or Hindu heritage was in any sort of danger and needed rescuing. I grew up knowing that a multi-religious, tolerant and secular society was a given and that the occasional eruptions of ethnic violence were aberrations resulting from modern India's traumatic birth. There were, too, fringe elements who played up communal tensions, but they were a minority and would soon disappear. However, this last never happened and the fringe elements are now claiming to be the dominant players, poised as they are to forever change the social fabric of India.

Perhaps, the dilemma that Mrs. Iyer poses for us is one that we face in our lives today. (Here, my referent, `we' is the larger set of the educated, upper-caste, Hindu middle-class that Mrs. Iyer belongs to). We confront today the forces of fascism that threaten to destroy all that we have stood for, in the past and now, and replace it with a narrow, murderous and obtuse worldview that dares us to look it in the eye. Mrs. Iyer protected her fellow passenger instinctively, imaginatively. The quandary for us is how we are going to do the same for our fellow passengers. Which Mrs. Iyer do we emulate, the one who is the humanitarian or the one who is the strategist; the one who is horrified by the situation and rushes to rescue, or the Tam-Bram Hindu who calculates that saving a particular Muslim was in her and her son's best interests?

I fear the answer to that question.

Nowadays, it is difficult to use words such as `secularism' and `tolerance' and `human rights' as these have been carefully and deliberately poisoned by the Sangh Parivar. Even some of our intellectuals, who otherwise do not support the Sangh elements, consider these ideas `western' and of not much import in our non-western society. It is as if such concepts belonged to an archaic and foreign reign that is now over and the erstwhile, shamefaced, rulers have taken their ideas with them. To use such words is foolish, if not anti-national.

So we cannot now stand up for our fellow citizens, the minorities who are being victimised, on the grounds of secularism, tolerance and basic human rights. We cannot now claim that they have a right to live their culture and practise their faith in whatever manner they choose and we have to uphold this right as it is a fundamental basis of our democracy. We cannot now say those things.

We have to choose another Mrs. Iyer. We have to calculate the worth of supporting our fellow citizens and we have to couch our emotional states in the language of market analysis and economics. We have to say now that riots are bad for business, killing and rape take a toll on the exchequer, communal tension adversely affects productivity and India's decline in the indices that measure human rights could jeopardise its chances of getting great deals at the World Trade Organisation. And so on. Charts, diagrams, figures, PowerPoint bullets and executive summaries have to replace arguments about human dignity and justice.

Cruel though these words may sound, they are, I feel, the only strategic option left to us. We are, like the mainstream media, caught between the Scylla of cheerleading market reforms and economic liberalisation on the one hand, and the Charybdis of somehow explaining the horrors of the communal carnage let loose in Gujarat on the other, and this is especially bothersome since both are being unleashed by the same political forces. To make matters worse, it appears that we are unable to see any causal link between the one and the other. It is in this context that I suggest, positively and not mockingly, that the assault on minorities has to be challenged on a rational basis and the ideology of hate has to be subverted by showing that it is not economically sound. Hate feeds the political vote-mill but in the medium and long-term it leads to instability, economic uncertainty and decline in consumer and investor confidence. This enables demagogues to further the hate agenda, setting off a vicious cycle. There are many instances in history where this cycle has played out its lethal consequences.

Mrs. Iyer needed the putative Mr. Iyer, and he needed her, to complete the long and difficult journey in the film. In like manner we need our fellow citizens to complete our long journeys, for our very rational and selfish needs.

(The writer is an Associate Professor of Information Systems, IIM, Bangalore.)

Other links and articles:

"Love in times of riots" by MINI ANTHIKAD-CHHIBBER (The Hindu, Feb 24, 2003):

http://www.hinduonnet.com/thehindu/mp/2003/02/24/stories/2003022401730400.htm
Wikipedia: "Mr. and Mrs. Iyer"

http://en.wikipedia.org/wiki/Mr._and_Mrs._Iyer