Death had been looming from the start. The official opening of Cannes Film Festival Delayed by World War II. When she raised her curtain, she gave the curtain of Chetan Anand Nisha Nagar (1946) Palme d’Or (then called Grand Prix du Festival International du Film) for Best Film, the only Indian film to have achieved this feat so far. Zohra Segal and Kamini Kaushal-starrer focused on the dialogues between two Indias (rich/high and poor/low), excesses of power, environmental hostility, disease and death. Some of these topics are touched upon in the only official selection of India (in the non-competitive special screening section) at this year’s festival, The Shunak Sen 2022 Documentary Wins the Grand Prix of the Jury It all breathes, where two brothers do everything in their power to save the ‘more than humans’ (black kites) falling dead/injured from the toxic skies of Delhi. One cannot help but notice the recurring theme of death in some of the India fair in Cannes.
“Death is the only thing that makes life real,” says Pratham Khurana, 23, who has a Whistling Woods diploma. Note He is among 16 student films competing in the La Cinef (formerly Cinéfondation) division. Previously, FTII Payal Kapadia alumni (afternoon clouds, 2017; Her documentary The night of those who know something She won the Oeil d’Or last year) and Ashmita Guha Neogi (dog catwho won the 2020 Grand Prix in the category) Actress of India.
room movie, Note (Urdu for mourning / mourning) is the story of caretaker Kishan (Azhar Khan) and his ambiguous relationship with Babuji (Uday Chandra). The bedridden septuagenarian’s lack of a name is significant. public address”Babuji“Determines age and class. His US-based family is irrelevant, and so their faces/heads are cut out of the frame in the funeral scenes, when they get home. However, the fact of death never dampens the unusual childish exchanges, over Three days, between an eccentric but mischievous old man and an annoying, but gentle caregiver.
The story is inspired by Khurana’s own experience with his friend’s father, who was taking care of him when the latter was on a pamphlet. Ventilatorwho appears in the movie. “Mothers are different, they treat you like their child, but you can never develop a close relationship with your friend’s father. It is always very practical. “In those moments, an emotional connection arose between us,” says Khurana, who lost his aunt and mother at a young age. Questions that remain buried Deeply, trying to address it through Movies.
It is set in the winter of Noida, although it was filmed at Mira Road in Mumbai during pandemicThe essence of weather symbolism was what a Delhi boy in Mumbai wanted to evoke Note – Winter and Night Refer to Death – The Epiphany he saw while watching Shoojit Sircar October (2018). When you were 13 years old, Rangana (2013), and the final voiceover of Dhanush’s monologue as his dying character contemplates leaving him, made him realize the importance of the writer and director.
As the lens remains on Kishan’s face, in a poignant fire scene at night, we see his reactions towards the poor housemaids in Kishan’s future. Class division, like death, is treated with grace and attraction. Was it pandemic After thinking? “The movie eventually comes this way, but it came up during the rehearsals we had before the pandemic, questions of what migrant workers feel, what it feels like to be separated from their homes, and when the push comes in, how everyone wants to go home,” Khurana says.
Marathi director Nikhil Mahajan Masked Meditation On Accepting Death, it marks a chalk and cheese shift from his earlier thrillers to family drama. Godavari – Part of the Indian government delegation of six films in the market, including R. Madhavan Missiles: The Nambe Effectwhich had its world premiere there, Achal Mishra’s DouenBiswajit Pura Bomba RideShankar Srikumar Alpha Beta Gammaand Jayaraj Niray yourself, may God be pleased with you (Tree full of parrots) – Tribute to the late Marathi director Nishikant Kamath, who passed away in 2020.
Although it is not autobiographical, some aspects of Kamath’s life, such as his anger and questions about his lack of Faith In things, it crept in when his close friend and protagonist Jitendra Joshi plays Nishikant Deshmukh: an irritable, explosive, and unhappy man who lacks faith in everything – his marriage, family, home, religion, and river, but his quest to find faith begins when life is about to give up on him.
The Mumbai explosions and societal tension in the 1990s form the background to the work-in-progress project starfruitsDirected by Gurap Kumar Mollic and produced by Umesh Kulkarni. It was selected, out of 10 films, to apply for funding, at La Fabrique, a program of the Institut Français associated with Cannes. Set in the coastal village of Konkan, this is a smuggling crossing of the RDX, topped with the story of the right hand of a gangster, loved by another man. “Homosexuality is nothing but a faint substance, primarily inspired by Bobin KakarBoard come on (1987), depending on the physical,” says Mullick. There is heartbreak and death.
Bengali director Annick Chaudhry in his Hindi film Pawan Chopra-starrer, A tale of Santa and a moth, the tale of a poor bisexual widower who does his best to fulfill a single wish for his sick daughter: to eat an almond cake for Christmas. The feature film – screened at the Marche du Film, where India is the country of honor – contemplates death and how the fallout from war affects developing nations, as even the smallest beings cater to their loved ones before considering their own. Chaudhry says.
Two restored classics have been revived. Govindan Aravindan‘s Thumb (circus tent1978), to have the world premiere of restoration, and Satyajit Ray’s bratidwandi (Discount, 1970), by Shivendra Singh Dungarpur’s Film Heritage Foundation and cinematographer Sudeep Chatterjee for the National Film Archives of India (now under the NFDC), respectively. Restoration, along with creating an original work, is the best way to honor masters, not to make photocopies of their classics in the name of honoring loyalty. It’s a tough but necessary pill, which it would do better for contemporary Bengali filmmakers to swallow, rather than invoking myths and killing them again with substandard songs.
if in Aravindant The lyrical “Site Movie”, a traveling circus on the banks of Bharatapuzha, instills life and awe in a sleepy village, spurs its near-dead spirits, and takes a disillusioned young man away from his worn-out village, Ray’s unemployed youth of the 1970s, disgruntled Siddhartha (Dhritiman Chatterjee), about capitalism, the Vietnam War, leaving his dead big city in a cacophony, and eventually imploding. The film begins and ends with a strange bird call that has haunted him for the greater part of his life and death (his father, then a stranger).
Death, however, is not a salable topic. “Promoting the producers was very difficult (self-funded Godavari(now powered by Jio Studios). Siratfor example, is the highest profit Marathi moviebut if someone said, “I will take a man and a girl from a village, and kill them at last,” no one will invest in you. Godavari It is about a man who discovers the idea of death. Who will put their money? Mahajan, who adds that he will be happier on the day his film is selected/competed at Cannes, says, “The current government is pushing cinema, in the greatest film festival in the world, it’s great, but is it the best thing? I do not think so.”