A new small-budget film on the underdog’s struggle for survival in Kolkata, employing a narrative technique borrowed from Thousand And One Arabian Nights and Brecht. By PARTHA CHATTERJEE
A video documentary pays tribute to the immense contribution of theTamil lyricist Pattukottai Kalyanasundaram, whose songs were rooted in the socialist ideology. By R. ILANGOVAN
Yaadhum, a documentary tracing the roots of Tamil Muslims, evocatively portrays a syncretic tradition that allowed inclusiveness and peaceful coexistence. Kombai S. Anwar, the director, says the film also presents an antidote to the increasing radicalisation of society. By R. ILANGOVAN
The closure of Prasad Colour Lab, the largest commercial film laboratory in the country, spells the end of film. With this epochal shift, an entire way of life with its highs and lows stands altered.
When Indian art cinema, with encouragement from the state, began as a movement around 1970, it did not take its aesthetic from Pather Panchali but from Dharti Ke Lal. By M.K. RAGHAVENDRA
In post-war Sri Lanka, Sinhala cinema is all about triumphal cultural nationalism. What options does a Tamil film-maker have, faced with the twin threats of a surveillance state and a populist mainstream cinema from Tamil Nadu that dominates popular imagination? By SIVAMOHAN SUMATHY
From films highlighting moral values to those portraying “illegality as enterprise”, ethical motifs in popular Hindi cinema have undergone a tremendous change. By M.K. RAGHAVENDRA
Kailasam Balachander has carved for himself a unique place in the history of Tamil cinema as a director who explored social themes in a manner that stimulated in viewers an appetite for such bold creations. Today, at the age of 82, Balachander has expanded his creative horizon to explore the limits of television as a medium to express himself. In 2010, KB, as he is fondly called by his admirers, became the first Tamil film director to be honoured with the Dadasaheb Phalke Award.