In her words
India. 2015. 42 min.
The Film traces the historical and social journeys of Indian women’s lives as revealed through the literature they created in every era. The story of how women lived, and their march towards freedom and self-definition was not officially documented. However, through the verses of nuns, bhakti devotee rebels, folk songs, verses written by courtesans, amateur anthropologists, the memoirs of activists, and modern literature, we witness the oppressions and aspirations of Indian womanhood over two millenia. The film traces these changes through the translators, publishers, historians, and contemporary writers and readers who are pushing towards a more gender equal society.
The deep rising
Mehrajur Rahman Baruah
India. 2015. 26 min
The film delves in to the issue of disability unfolding the biased mindsets and unfriendly circumstances that propel the physically challenged people continue to live and enmesh in the vortex of disability. The narrative minutely explores the dance troupe ‘Ability Unlimited’ encompassing the art practices of differently able artists, their world within and outside, the collapse of the interface as well as “We and They” dichotomy created by the mainstream society. The film engages the artists who have innately redefined the notion of disability by transforming it to their advantage, giving a new lease of life accordingly enabling them to lead a dignified and productive life.
In the mood for love
Aakriti Kohli, Sandeep Singh
India. 2015. 28 min PSBT
A story of people who have lived and loved.
This film explores queer love and relationships, and looks at the notion of togetherness, love, sexuality, and illegality with reference to the LGBTQ community. The film documents stories of individuals and partners who turn an inward gaze and reflect on themselves, the community and the movement. Foregrounding their everyday life and work, the film looks at the experience of living in a city, having a relationship and the very concept of a family. Finally the film prods us to question the overarching powers of the state in defining, policing and regulating people, and popular discourse, which dismisses LGBTQ rights as trivial and unimportant.
The Man who would be second
Spain. 2014. 91 min
Venue : CC Pilar Miró
Date : 24 may. 20.00h
We will follow the steps of Enrico, an Italian film student, who will travel through Spain, France and Italy searching for answers on the enigmatic life of Segundo de Chomón, an almost unknown Spanish filmmaker of the early years.
Kazakhstan. 2015. 60 min
Venue : B.The Travel Brand
Date : 18 april. 19.30h
Rauan works at a parking lot in a prestigious residential area. Aidar passes him daily in his luxurious car. The auto belongs to his father, who works in the oil business. Rauan and Aidar are both determined to build their own lives themselves. They live in the same city, their paths cross in the same yard, but there is an abyss between them. They are separated by a toll-bar between wealth and poverty. One day Aidar and Rauan will clash and their worlds will clash. What will the results be..?
Eduardo Ducay, the cinema that was always there
Spain. 2015. 55 min
Venue : CC Pilar Miró
Date : 25 may. 20.00h
Visual documentary about the figure of the producer Eduardo Ducay, who has driven along so important film career milestones as “Tristana” by Luis Buñuel, “The Living Forest” of JLCuerda, the television series “The Regent” of FM Leite.
Something Better to Come
Denmark/Poland. 2014. 95 min
Cast : Yula, Hanna Polak
Venue : Función Lenguaje
Dates : 28 may. 19.30h
Ten-year-old Yula has but one dream – to lead a normal life. For 14 years, Hanna Polak follows Yula as she grows up in the forbidden territory of Svalka, the garbage dump located 13 miles from the Kremlin in Putin’s Russia.
India. 2014. 80 min
Cast : Shine Tom Chacko, Ashanth K. Shah, Vasudevan
Venue : Casa Asia
Date : 27 may. 19.30h
Ottaal (The Trap) is an adaptation of one of Anton Chekhov’s timeless works, Vanka. A story of the 18th century, but one that has travelled the time and space to be retold in the present day at a small village in the South of India. Kuttappayi, a young boy, is miserable and desperate as he starts writing a letter to his grandfather from a place, dim and dark. Kuttappayi’s recollections takes us to the picturesque locations of Kuttanad, where Kuttappayi and his grandpa, Valiyappachayi, are arriving with their ducks. The village is as pleasant as it can be even though what brings him there is the death of his dearest parents. With hope and freedom, he is about to start his life afresh among the village’s letterless postman, the nameless dog, the rich lad, Tintu and many more.
India. 2015. 108 min.
Cast : Tanishta Chatterjee, Ashwin Mushran, Vinay Pathak
Venue : Filmoteca Española
Date : 20 may. 20.30h
Island City is a film in three parts. Suyash wins the office ‘Fun Committee Award’, entitling him to a whole day of fun at the mall. However, things go wrong and he ends up doing a horrendous, unthinkable thing. It does turn out to be a fun day for Suyash after all! Anil is on life support. His devastated family decides to bring home that object banned from the house – the TV. The family now, each night, plugs into the popular soap ‘Purshottam – The Ideal Man’, and gradually begins to replace the domineering Anil with this fictional paragon. Suddenly then, comes the news that Anil’s condition is improving and that he will be home soon!
Venkatarama Pandit Krishnamurthy (26 November 1923 – 7 April 2014) was an Indian cinematographer. Murthy, a one-time violinist and jailed freedom fighter, was Guru Dutt’s regular cameraman on his movies. He provided some of Indian cinema’s most notable images in starkly contrasted black and white. He also shot India’s first cinemascope film, Kaagaz Ke Phool. For his contribution to film industry, particularly Indian film industry he was awarded the IIFA Lifetime Achievement Award in 2005. On 19 January 2010, he was honored with the Dada Saheb Phalke Award for 2008 with Sathvika Samineni.
Murthy began his career in films with Maharana Prathap. He worked as an assistant to cinematographer V. Ratra in the 1951 film Baazi which was Guru Dutt’s first as a director. Dutt, impressed by Murthy’s smooth and fluid captures with the camera, took him on for his next film Jaal (1952), which was Murthy’s first film as a chief cinematographer. Murthy, then became a part of the Guru Dutt team, till the latter’s death in 1964.
In 1959 came Guru Dutt’s Kaagaz Ke Phool, a film critically acclaimed as one of the director’s best. More than anything else, it won many accolades for its cinematography and created unparalleled history in the field. V. K. Murthy, as the cinematographer won widespread praise and received the Filmfare Award for Best Cinematographer. He repeated the feat with Sahib Bibi Aur Ghulam winning the award again in 1962. He worked exclusively with Dutt until the director’s death. Some of Murthy’s best work came in Guru Dutt’s movies like Pyaasa, Sahib Bibi Aur Ghulam and Aar Paar. Following Dutt’s death, Murthy worked with Kamal Amrohi on his masterpiece, Pakeezah and Razia Sultan. Post Guru Dutt, he like many of the director’s team was not able to give any pinnacle work. In later years, he worked with directors like Pramod Chakravarthy (Naya Zamana, Jugnu), Shyam Benegal and Govind Nihalani (Tamas).
Murthy was also the cinematographer for one of the most acclaimed Kannada film Hoovu Hannu, a directorial production of Rajendra Singh Babu and also appeared in that film in a role. Murthy was also the principal cinematographer of the widely acclaimed television series produced by Doordarshan and directed by Shyam Benegal, Bharat Ek Khoj.
— Filmfare Best Cinematographer Award – Kaagaz Ke Phool (1959)
— Filmfare Best Cinematographer Award – Sahib Bibi Aur Ghulam (1962)
— IIFA Lifetime Achievement Award – Amsterdam, 2005.
— Dada Saheb Phalke Award for 2008