The 18th edition of Imagineindia International Film Festival will take place in Madrid from 17 to 31 May 2019. It,s open the submission of films upto 15 April 2019. Please kindly check Rules.
Ahead of an event to mark the Malayalam master’s 25th death anniversary and 80th birth year in March, memories of the ‘Chidambaram’ shoot with actress Smita Patil.
I met Govindan Aravindan through Satti Khanna, a common friend, 36 years ago in Bangalore. Aravindan exuded a rare and intense tranquillity, although he spoke so little and so softly that sometimes you did not even catch the few words he did say. An observant man who could read your thoughts and feelings, but did not let on that he had. It is not a surprise that the power of his films is in his images and not in the words – in what he did not say rather than said. Continue reading The unhurried genius of G Aravindan (Nasrin Munni Kabir)
On May 31, Thursday, 7:00 pm, took place the Closing Gala of the 17th edition of the Imagineindia International Film Festival. With the presence of directors, international producers: Bauddhayan Mukherji (India) Director, Airat Iamilov (Russia) Director of photography, Delphine Montaigne (France) Actress, Yunxing Nie (China) Director, Sun Yun (China) Producer, Tzahi Grad (Israel) Director, producer.
The Gala was presented by the actor Sergio Pazos and actress Yolanda Font.
The Awards were given by Spanish cinema personalities like : Pedro Hernández (Producer of Magical Girl), Ángela Molina (Actress), Innocence (Singer), Azucena de la Fuente (Actress), Alba Ferrara (Actress), Lola Forner (Actress), José Marzilli (Representative of Javier Bardem), David Marqués (Scriptwriter of Campeones), Paola García San Juan (Director), Pedro Mari Sánchez (Actor), Félix Sabroso (Director) or authorities : Hagit Mualem (Embassy of Israel), Jeeva Maria Roy (Embassy of India) among others.
Photographs of a School Teacher
Bangladesh. 2013. 7 min
She is a school teacher. She has spent a long time of her life in an edge of this city. After long time, she was gazing on her photo album and found photographs of different time of her life. Each photograph reminds her different fragmented memories and moment of her life.
Based in Dhaka, Bangladesh, Mahde Hasan is a Screenwriter and Director. His short film, ‘Photographs of a School Teacher’, premiered at “IndieCork Film Festival, Ireland, 2013”. Another short, ‘I Am Time’, screened at 69th Festival del Film Locarno, 2016. Mahde Hasan placed first in the section ‘movieofmylife’ at 70th Locarno Festival, 2017. He participated in Ekadeshma Film Lab Nepal 2017, an intensive script and project development workshop organized in collaboration with Open Doors Locarno.
His film project SAND CITY is selected for Open Doors Hub at Open Doors Locarno 2018, which will be held in August during the 71st Locarno Film Festival.
Mahde Hasan : email@example.com
The 17th edition of Imagineindia International Film Festival will come to Madrid’s screens from May 17 to 31, 2018. More than 80 films, 6 venues, 12 international guests make this festival a classic among the film festivals in Spain.
13 films from 11 countries will compete in the Official Section for the “Golden Chakra” in the 17th edition of Imagineindia, which will take place in Madrid from May 17 to 31. Accompanied by parallel sections for documentaries, short films, film schools, humanitarian conflicts (Syria), women or religions. Continue reading Imagineindia 2018 Official Presentation
Interview by Monica Magdalena Semzuki.
Adam Uryniak, a graduate of the Crakow School of Film and Audiovisual Communication, tells us about his various film productions and the latest film project – “Szamota’s Mistress” by Stefan Grabiński, and wonders about the state of horror film in Poland.
Firstly, tell us a little about yourself. When did your adventure with film started and why did you choose this direction?
The first video I did for fun, with friends with whom I studied film theory. We named ourselves Butcher’s Films. The initiative has grown, with each film we learned something new and eventually, most of us took up film in a professional way. In the heroic times of the Butcher’s Film, we were actors ourselves, as well as sound engineers, operators, and if necessary, even make-up artists, so we know the ins and outs of working in different dimensions, we are still supporting ourselves in a similar way. I was attracted to directing in the first place. I made a few short films, and in 2011 I directed a full-lenght film called “Zniknięcie”, based on a short story by Olga Tokarczuk.
In your words, how would you describe the film you’re working on, and why did you chose “Szamota’s Mistress” by Stefan Grabiński?
What’s most important is the mood and creative use of the iconography of a horror movie. “Szamota’s Mistress” doesn’t have to be an ordinary scary movie, I want to create ambiguous, gripping intrigue, which also contains criminal elements. I care about the visual aspects of the film. Moreover, an idea for a film grows out of this area. My scenographer showed me the story, and we wanted to adapt it to a very short movie, a candy created for mine, operator’s and stage designer’s pleasure, in order to utilize our creative forces. The story inspired me, however, to expand it significantly, and before I knew it, I had written a much bigger film script. After a few adjustments, it seemed quite natural and obvious to us, that there is no return, and we just have to do this movie. Unfortunately, the project size makes us to look for different sources of funding.
Who are the main characters of your film?
The main character is Joseph Szamota, the notary, who comes to some old palace to estimate the value of the property. There, he’s on the trail of family secrets of former inhabitants of the palace. Some strange things begin to happen around him, Szamota stops to trust his senses and suspects that he fell into madness. The main female character is Jadwiga Kalergis, a character so interesting that her ontological status is unclear. She’s an unruly niece of the count, causing him some trouble in the past, because she liked to be friends with a lot of men, also of peasant origin, and for the Count – proud Sarmatian and a great fan of hunting, it was a major discredit to his honour.
Horror films are not very popular in Poland. Why do you think this happens, and why did you chose this kind of movie?
In Poland, there are many fans of horror, both literary and film. There is a very lively fan life, vibrant clubs and conventions, there are magazines about widely understood fantasy. Interesting fact is that, however, Polish film makers pass indifferently not only by the horror, but by every film genre. To see all Polish horror films, two or three days are enough. Most of them are television productions. After 1989, horror films were made only as school etudes or as a part of independent cinema. I really like such stories, so I decided to face the genre. Another attraction was the work of Stephen Grabiński, the writer, who is venerated by Polish horror fans. He wrote many excellent stories, which are just waiting to be filmed. Unfortunately, the last time the cinema reached for it, was almost 30 years ago. “Szamota’s Mistress” was shot in 1927 for the first time. Unfortunately, this film didn’t survive to our times, and if you believe reviews of the era, it was very interesting and stood out among other Polish films. Therefore, my version of the story will be also an attempt to restore “Szamota’s Mistress” in the sphere of Polish cinema.
Tell me something about your previous films. Were you driven by similar motives?
I am making films for over 10 years, many of my first productions were more fun than serious cinema. All of it changed in 2009, when I worked on “Podglądacz”. It was the first time I worked with professional actors and I had decent equipment. I lived through a period of fascination with cinema noir, and this film is a nod to the genre, both in feature and formal terms. I have a great sentiment for “Podglądacz”, because I travelled through some festivals with him, and generally met with good response from the audience. I mentioned about “Zniknięcie” – my last film so far. Here, you can see the trailer: https://www.youtube.com/watch?v=thFnQiLtDC8. It’s a bit of a thriller, a psychological film containing some metaphysical motifs. I really like to mix genres and under the guise of, for example, thriller, smuggle other content, something more from myself. It seems to me, that this is the way to create non-obvious cinema, surprising and simply addictive, interesting in its reception.
Which directors and movies inspire you?
I like every, well narrated cinema, but I also find inspiration in films which seems to be bad, but have their own characteristics, such as Roger Corman horror films. I watch both art-house cinema and also Hollywood blockbusters. In every genre you can come across something interesting. It would be hard for me to name the directors that I admire, and which I treat as a role model. It is never like the entire work of some artist equally appeals to me – there are better and worse films. Besides, I am not a supporter of treating the director as the only author of the film. Cinema is a collective art and you can be never sure whether an item in a movie, that intensively affects us, is the brainchild of the director or someone else from the team.
India. 2009. 107 min
Childhood is the golden phase of man’s life. This movie essentially deals with the reminiscence and recollection of childhood memories. Bimal, a simple urban man plans to visit his school. On his visit, he finds out that the window pane where he used to sit around is broken, and the building was also dilapidated. He wanted to donate some funds but did not have the means to do so. So, without letting his would be wife know, he took some money and gave it to the school authority, to which his displeasure was rejected. Owing to his dishonesty, Meera gets split with Bimal. The movie projects about a man’s emotions surrounding his memory of his childhood.
Ami, Yasin Ar Amar Madhubala
India. 2004. 90 min
When a Kolkata surveillance specialist and his roommate install a small camera in the home of their beautiful neighbor, they somehow become terror suspects in director Buddhadeb Dasgupta’s cutting commentary on CCTV society. Yasin (Amitav Bhattacharya) and his roommate Dilip (Prosenjit Chatterjee) are smitten with their beautiful new neighbor Rekha (Sameera Reddy). Innocent pining becomes silent obsession, however, when Dilip decides to install a surveillance camera directly over Rekha’s bed. At first Rekha remains blissfully unaware that her privacy has been invaded, but when she finally realizes she’s being spied on, her nosy neighbors are forced to go on the run. Little do Yasin and Dilip realize that across town a terrorist cell is plotting their latest attack, and now the local authorities believe that Yasin may be a key part of their diabolical plans.
India. 2004. 90 min
Paresh (Prosenjit Chatterjee), the protagonist in Swapner Din, cannot afford the luxury of reaching out for the unexplored. For him, travelling in an official jeep across the state is a matter of keeping alive, a business he is forced to do. He screens badly put together family planning films in villages that fall along his predetermined route, often meeting with unpleasant responses from his target audience. His faith in life is sustained by his love for his dream girl — a beautiful actress he saw crying away in a film five years ago and has been haunted by. He has never met her. She accompanies him on his daily sojourns through a sticker of her picture pasted on the projector box he carries along.
Chapal (Rajesh Sharma), the proxy-driver Paresh is saddled with, carries a stolen passport that has his picture under a different name. His dream is to reach Dubai and land a cushy job to end what he thinks is an apology for living. The pregnant and pretty Amina (Rimi Sen) is running back to her homeland Bangladesh. Her husband, an illegal immigrant, was killed in the Gujarat riots. Her dream is to give birth to her child in her own country, as a legal citizen rooted to his land.
Along the journey, the three share their food, their sleep and their dreams trying to help each other get that much closer to the fulfillment of their respective dreams. No one falls in love, no one attempts to molest Amina, not even the goons who take away the jeep at gun-point and leave them in the wilderness of nowhere, and no one comes to their rescue when their lives, along with their dreams, are threatened by the real danger of death.