Issue - 1Vol - 6 Pages : 8RNI No. KARBIL/2010/31617 | CPMG/KA/BGS/107/2015-2017REGISTERED :

January 2015 d£ÀªÀj 2015

The Creator who immortalised the Common Man is no more

- BS Manohar

Eminent cartoonist Rasipuram Krishnaswami Laxman (R.K. Laxman) who immortalised the Common Man through his daily cartoons passed away on 26th Jan 2015 at the age of 94 years. He is best known for his creation The Common Man and for his daily cartoon strip "You said it " in The Times of India which started in 1951. R K Laxman was born in Mysore in 1921 and he was the youngest of six sons and his elder brother is the famous novelist R K Narayan (Film: Guide). Laxman was engrossed by the illustrations in magazines such as The Strand, Punch, Tit-bits and soon, developed a passion for drawing on his own, on the floors, walls and doors of his house and doodling caricatures of his teachers at school. He graduated with a Bachelor of Arts from the University of Mysore and continued his freelance artistic activities and contributed political cartoons to magazines like Swarajya, Koravanji, Swatantra and Blitz and an animated film based on the mythological character Narada. During his college days, he began to illustrate his elder brother R K Narayan's stories in The Hindu.R K Laxman held a summer job at the Gemini Studios in Madras and his first full time job was as a political cartoonist for the Free Press Journal in Mumbai. He later joined the Times of India, Bombay, beginning a career that spanned over 5 decades. His "Common Man" character, featured in his pocket cartoons, is portrayed as a witness to the making of democracy. Every morning for over five decades, his fans waited for the Common

Man who, with his signature checked jacket, dhoti, Gandhi-glasses and twin tufts of gravity-defying hair, watched life and politics in India. With his masterful strokes using the space of couple of inches, he exposed the hypocrisy in politics, leaving many a politician red-faced.Laxman also wrote a few novels like The Hotel Riviera, The Messenger and his cartoons have appeared in hindi films such as Mr. and Mrs.55 and a Tamil film Kamaraj. The crow was also a common figure in his cartoons later on. His sketches drawn for the television adaptation of Malgudi Days which was written by his brother R K Narayan and directed by Shankar Nag became very popular. R K Laxman is the recipient of many Awards including the Padma Bhushan (1973), Padma Vibhushan (2005), Raman Magsaysay Award (1984) and an Honorary Doctorate from the University of Mysore (2004). A Chair is named after R K Laxman at Symbiosis International University, Pune. With the passing away of R K Laxman, who immortalised the hapless "Common Man" with his devastating swipes at politicians but without malice, India has lost an outstanding towering figure who always had his finger on the pulse of the nation. As our beloved PM Narendra Modi tweeted - "India will miss you R K Laxman. We are grateful to you for adding the much needed humour in our lives and always bringing smiles on our faces." Suchitra offers its condolences to his bereaved family and prays for his soul to rest in peace.

January 2015

Obituary

R K Laxman (1921-2015)

Pens and Swords : Freedom and Respect- Peter Keough

My colleague Lisa Nesselson in Paris wrote to tell me that she is safe in the wake of the Charlie

Hebdo atrocity and to “pay no attention to the headlines that imply that Jews in France are

quaking in their boots and being chased down the street by terroists hordes wielding

machetes.”

She also suggests watching Daniel Leconte’s 2008 documentary, “It’s Hard Being Loved by

Jerks,” which can be seen for free until Feb. 16 at the MyFreeFrenchFilmFestival website. It

recounts the 2007 lawsuit filed against the magazine for its publication of caricatures of

Muhammad. In her May 17, 2008, Screen Daily review Lisa wrote, “Freedom of speech and

freedom of the press versus religious grievances are explored to edifying effect in . . . [t]his

lively, intelligently-structured documentary.”

Suchitra CFD will organise a discussion on the Charlie Hebdo Killings on Sunday 15 February

at 10-30 am titled Pens and Swords : Freedom and Respect

INSIDE

RK Laxman - Obituary

Death of 35 MM – Sundance projectionist Interview

Golden Globe Winners

Fransesco Rossi – Obituary

BIFFes Kannada Movie Screenings

HMK Murthy – Obituary

Know your Filmmaker – Jean Renoir

2

Francesco Rosi (1922-2015)Ed Vulliamy remembers the master film-maker, whose thrillers exposed the murky twists and turns of Italian politics and crime

Francesco Rosi, grandmaster of the political thriller on screen, who died recently, not only understood and explained the shadows and labyrinths of what happened to be my formative years – in Italy, learning how politics work – but had an uncanny ability to predict what would happen next.

Those were the so-called anni di piombo – years of lead – a time of adrenaline and ideological conflict that included a night I’ll never forget: that of 4 August 1974, when neo-fascists with assistance from state secret services blew up a train outside Florence, killing 12 people.

I had studied at the Università di Firenze during 1973 and returned for every vacation moment I could steal until 1980. It was hard to figure out what was happening in the occult machinations behind these events – other train bombings, kidnappings, attacks on demonstrations – as far left faced far right, with the Christian Democrat state and Communist party in between. Partly through intuition at the time, and certainly with hindsight, the way to do so was to watch the films of Francesco Rosi.

Rosi was until then most famous for Hands Over the City, about the emergent Camorra mafia clan in his native Naples, which educated my generation in an understanding that when politicians talk about a battle between state and mafia, they lie. In Rosi’s film, authority is mafia and vice-versa – and every word I have since written on organised crime in Italy or Mexico, or on the British and American banking systems, has been informed by Rosi’s vision, and invariably vindicated as a result.

But Hands Over the City was made back in 1963. During my years in Italy, I found myself watching Rosi’s films as they premiered. In 1976, he released the best political thriller of all time, Cadaveri Eccellenti (Illustrious Corpses). Based on a novel by Leonardo Sciascia, it depicts serial assassinations of judges by – the state insists – revolutionaries on

the extreme left. But, it emerges, the judges are being killed by agents of the state in order to justify repressive measures. A subplot tells the story of the Communist party holding back the truth it learns, in order to avoid unleashing revolution.

Rosi had exactly predicted – and chillingly depicted – the so-called “strategy of tension” that came to define those years in Italy. His prescience was extraordinary. Two years after Cadaveri Eccellenti, in 1978, when the Red Brigades kidnapped Aldo Moro and began negotiating his release, the ruling Christian Democrats, of whom Moro was president, held out, with the communists and Vatican, against any parley. Moro was executed.

Two years later, a bomb exploded in Bologna station on the busiest travelling day of the year, killing 85 people. I came to know the lead examining magistrate investigating the case, Libero Mancuso, who established the hand of neo-fascists, with involvement by state agents. Rosi’s nightmare was now reality, and vice-versa.

Like many of the people I’ve come across in working life since, Mancuso was straight out of Cadaveri Eccellenti. And all the rest of that life has consisted of variations on a theme by the genius of Francesco Rosi. (source: The Guardian)

January 2015

The Church Of Scientology Is Furious About This New Movieby Nick RomanoNobody said a film festival like Sundance would be a walk in the park.

While Jupiter Ascending debuted as a "surprise screening" to negative sneers, a documentary by Oscar-winning director Alex Gibney is causing a louder controversy. However, the only people who seem to have issues with it are Scientologists because, well, the doc says a lot of stuff that they really don't want anybody to hear.

Gibney’s Going Clear: Scientology and the Prison of Belief only screened a few days ago, and already the Church of Scientology is foaming at the mouth and demanding retribution. Since the premiere, their Freedom Magazine, which calls itself "the voice of the Church of Scientology," has published a lengthy statement bashing the director and his film. It reads in part:

"The Church has documented evidence that those featured in Gibney’s film regurgitating their stale, discredited allegations are admitted perjurers, admitted liars and professional anti-Scientologists whose living depends on the filing of false claims.

Elsewhere, the Church has set up a new Twitter account in response to Going Clear called Freedom Media Ethics, which takes "a resolute stand against the broadcasting and publishing of false information." Why so serious, Scientologists? Going Clear is based on the book of the same name by Lawrence Wright, which was itself a further exploration of a New Yorker article Wright wrote profiling filmmaker and former

Scientologist Paul Haggis. Both men are involved with the documentary along with Giblney. The film goes behind the walls of the Church of Scientology, utilizing rare footage of some of its prominent figures, as well as interviews with those who have defected.

One of the many issues that the Church of Scientology is taking issue with involves statements from Marty Rathbun - a defector who formerly had one of the highest ranking positions in the religion. He states in Going Clear that the Church was heavily involved in Tom Cruise’s split from Nicole Kidman. As reported by The Daily Beast, this included "re-educat[ing] Cruise’s adopted children with Kidman, Connor and Isabella, into turning against their mother so that Cruise could retain custody." Worse yet, Rathbun also claims to have ordered the tapping of Kidman’s phones upon the request of Cruise and one of the higher-ranking Scientologists, David Miscavige. Going Clear also attempts to prove instances of torture and slave labor, as well as the money-hungry ambitions of Miscavige.

The Church of Scientology has never been known to take anything lying down. According to former members, it’s even noted in their doctrine that anyone who questions or criticizes their belief system are to be considered criminals and discredited. So, one thing is for sure: as Going Clear continues revving up for its debut on HBO later this year, this won’t be the last we’ll hear on the matter. (source: Cinema Blend)

3January 2015

Golden Globe WINNERS

CinemaBest Motion Picture – Drama - Boyhood"Best Motion Picture – Musical or Comedy - The Grand Budapest Hotel"Best Actor – Motion Picture, Drama-Eddie Redmayne, "The Theory of Everything"Best Actor – Motion Picture, Musical or ComedyMichael Keaton, "Birdman"Best Actress – Motion Picture, DramaJulianne Moore, "Still Alice"Best Actress – Motion Picture. Musical or ComedyAmy Adams, "Big Eyes“Best Supporting Actor - J.K. Simmons, "Whiplash"Best Supporting Actress –Patricia Arquette, "Boyhood"Best Director- Richard Linklater, "Boyhood"Best ScreenplayAlejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris & Armando Bo, “Birdman”Best Original ScoreJohann Johannsson, "The Theory of Everything"Best Original SongJohn Legend and Common, "Glory" -- Selma"Best Foreign Language Film - "Leviathan"Best Animated Feature Film -"How to Train Your Dragon 2“

TelevisionBest Drama Series - "The Affair"Best Actor in a Television Series, Drama -Kevin Spacey, "House of Cards"Best Actress in a Television Series, Drama -Ruth Wilson, "The Affair"Best Comedy Series - "Transparent"Best Actor in a Television Series, Comedy -Jeffrey Tambor, "Transparent"Best Actress in a Television Series, Comedy -Gina Rodriguez, "Jane the Virgin"Best Mini-Series or Motion Picture Made for Television - "Fargo"Best Actor in a Mini-Series or Motion Picture Made for Television –Billy Bob Thornton, "Fargo"Best Actress in a Mini-Series or Motion Picture Made for Television - Maggie Gyllenhaal, "The Honourable Woman"Best Supporting Actor in a Series, Mini-Series or Motion Picture Made for TelevisionMatt Bomer, "The Normal Heart"Best Supporting Actress in a Series, Mini-Series or Motion Picture Made for Television -Joanne Froggatt, "Downton Abbey"

Ace Cinematographer, Director and Producer H M K Murthy breathed his last on 27th Jan. 2015 at the age of 79 in Bengaluru. Born in the year 1936 in Hoskote, he did his Diploma in Cinematography in 1958 from the SJ Polytechnic, Bengaluru. He worked as a Chief Asst. Cameraman in Bombay's Filmistan Studios under famed C i n e m a t o g r a p h e r s l i k e Dronacharya and Fali Mistry. He also worked for magnum opus films like Mughal e Azam(1960) and Naya Daur. Back in his home State, he wielded the camera for wellknown Director M.V. Krishnaswami for his films Subba Sastry (1966) and Papa

Obituary

H M K Murthy(1936-2015)

Punya (1971) and also for R. Dayananda Sagar's Poornima (1971). He produced Kannada films Dombara Krishna, Rajeswari and Raja Maharaja and was the founder President of the Karnataka Film Producers' Association. He worked for Doordarshan in its initial days and produced and directed many Documentary films and tele-serials. He produced the first regional language tele-serial Sihi Kahi for the Doordarshan (1986-87)which became popular. He established Om Shri Studios in Bengaluru which helped many youngsters in filmmaking. He was instrumental in constructing the Om Shri School in Hoskote, which is educating over 170 children today catering to the needs of the ruralfolk. He was a friendly personality and many in the cine and television field have used his expertise for furthering their ventures. On behalf of Suchitra, we mourn his death and pray for his soul to rest in peace.

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Exclusive Interview: Head of Projection at Sundance on the Year 35mm DiedFor the first year in Sundance history, there are no films projecting from 35mm prints. What does that mean for independent filmmakers?It means the DCP is likely here to stay, according to Holden Payne, the Technical Director of Exhibition and Projection of the Sundance Film Festival. If you've had a film play in the festival circuit, you've probably had at least one screening with technical difficulties. Could the continued adoption of DCP mean less gut-wrenching experiences for independent filmmakers when it comes time to project? Payne sat down with No Film School to talk about how films are projected at Sundance 2015, how filmmakers can ensure their master is up to snuff, and what the future holds.

Sunday 15 Feb 201510:30 AM

Venue: Suchitra

Centre for Film & Drama Presents

Pens and Swords : Freedom and Respect

A discussion on the media and its freedom

Continued next page…)

- BS Manohar

4January 2015

Year 35 MM DiedNFS: What are most films at Sundance projecting from? What's the

situation like?

Holden Payne: This is actually the first year that we do not have any

35mm in our history. We are showing a 16mm short this year, though a

couple of years ago we took 16mm out as an accepted format. We kind

of made an exception. It's a hand-painted 16mm short -- I'm spending

way too much time to play a 3-minute short, but it was something that I

felt compelled to do just because it was a film. We are primarily showing

DCP and HD-Cam, and I'm quickly seeing HD-Cam drop off as well. We

will not present films in Blu-ray, but we accept it as a backup format and

we will only play it if we cannot get the primary format to play. I'm not a

fan of Blu-rays just because with 4 layers of optical information, they can

get damaged and scratched, thumb-printed. It's just a dicey format that

I won't use as a primary format.

NFS: What's your experience with DCP? How's the road been for DCP

adoption?

HP: I actually have a pretty good time with DCPs as long as the person

that's getting it done actually gets it done by a post house. I would

recommend to filmmakers, if you're going to show in a festival, just

invest the time and money into your deliverable. Don't have your cousin

that can make a DCP in his basement do it. It's going to take his

computer a long time and do you really want to risk finding out at your

premiere that you have a problem with your sync or your color space

that you put it in? For us, we have some providers that we direct people

to whether it's Dolby or Fotokem or Light Iron. There's people that are

offering our filmmakers a little bit of a discount if they go through them

and why risk it being tragic when you can have it be magic?

NFS: Do most, or any, filmmakers come and do a tech check ahead of

time?

HP: We have a really stringent inspection process that we inspect

everything that comes in. We don't do tech checks for people. We don't

have the time. There are only so many hours in a day. But we have a very

stringent inspection process that we catch stuff before we get it to the

theater and if there's issues with audio or the color space, we'll let the

filmmaker know and say, "Hey, you need to address this."

NFS: What's the most common problem with films that are sent in that

ends up needing to get fixed on the filmmaker's end?

HP: I would say the biggest problem is subtitles. It's always subtitles. But

overall, I think that because it has been the standard for so long; it's not

the Wild West when DCI compliance first came out.

NFS: For filmmakers that play other festivals in the festival circuit, in

different kinds of theaters or even community venues, would you

recommend in that circumstance for filmmakers to come by or do a

tech check?

HP: I would say that when you are finishing your film and doing the

deliverable, try to get a screening room to see it in. I've been in this

industry since the late '90s and I can tell you every festival is stretched

for time. I have spent years trying not to do tech checks for filmmakers.

It's not that I have anything against it, I just don't have the time. When

you're showing 200 films and you open the door, the Philistines march

right in. It's just -- there's only so much time in the day and I have always

had a really good team and we take a lot of pride in what we do. I have, at

times, done it for filmmakers and I've found that most times when there

is a problem, it's a problem with the post. My equipment is all aligned --

and that's another thing that we won't do -- we're not going to change

the setting on our projectors. We're set to standards.

NFS: At that point, it's too late really to change anything.

HP: Yeah. I'm not going to name the festival, but I used to work for a

festival that if they insisted [on a tech check] they were charged for it.

And I said they're just basically paying to know that they're either going

to have an awesome night or a terrible night.

NFS: I can understand why it would be a lot more beneficial, even for

the filmmaker, to get a screening room and watch it ahead of time and

try to find problems before the festival.

HP: Yeah. By the time it gets here to Park City, their options are very

limited on what they can do, besides getting in touch with their post

house back on either coast and trying to get something rushed here. I

mean, my inspection team started [11] days ago. We're looking at stuff

right now before anything hits the screen so we can catch it.

NFS: When a filmmaker is in a screening room watching their film, at

that point in the process, is there anything you'd recommend they

look out for?

HP: Most of the time, I've found that they're most concerned with their

color correction. Because if you're in a screening room, it's tuned, it's

going to look big. If they've been seeing it in their editing studio, that

monitor is going to look so different than it is when it's projected on a

screen. It's going to be bigger. You're going to see the flaws that nobody

else is going to see, because it's your first time seeing it on a big screen.

It's a completely different process than the monitors in an editing

studio. Your contrast and colors are going to look like a monitor and then

when you throw it out on a screen, it's a projected image. It should be

close, but it's never going to be exactly the same. For the people that

edit on their retina display laptop, it's definitely going to be different. I

think most people that see it for the first time on the big screen are

shocked by the way it looks more than it sounds.

NFS: Shocked horrified or maybe shocked in a good way?

HP: Most of the time, in a good way. There's something magical about

seeing something that you made 40-feet tall.

NFS: You alluded to this already a little, but what have been the

changes over the years that you've seen in projection, and where do

you see the future of film projection going?

HP: I think the DCP is here to stay. For the smaller filmmaker, it hasn't

really started to take off yet, but I get a feeling that solid-state drives are

going to be a way to go. Solid-state players I'm happy with. I don't want

to play something, a ProRes file, off of a computer, because computers

sometimes have the 1s and 0s that don't line up and you have to restart

and stuff like that. But file-born formats I think -- on the right player. I've

experimented with a few decks, but so far I'm not really happy with the

user interface. As soon as someone comes up with a GUI interface to run

stuff off of solid state drives that is solid and bulletproof, I could see that

really being the future of independent filmmakers playing festival

circuits. Many player interfaces are a little clunky for the operator side,

but it's getting close.

I'm really excited about the new Dolby Vision laser light projectors.

Everything I've been hearing from people that have been going to the

demos -- it sounds amazeballs. I'm excited for that. 35mm is still going to

be around for archive and stuff. It's just -- I used to outfit every one of

our theaters, and last year I showed three films on 35mm. Like I said, this

year is the first year in the festival's history that no 35mm's going to be

shown. It's kind of a bellwether year, but it's still a beautiful format.

(source: Nofilmschool.com)

5January 2015

Russian cinema teams up with Ikea to offer movies in bed

The combination of people's love of lying inbed and the rise of Netflix has long been a worry for cinemas: many now don't see the point in rolling out of bed, braving a weather bomb and forking out £14 to watch a movie.

Why not just lie in bed?

Well, one cinema company in Moscow has solved that dilemma by teaming up with Ikea to offer beds instead of seats at the movies.

Kimostar De Lux cinema and the Swedish furniture chain are promoting beds in the cinema to attract a new audience. Unfortunately, the bedroom offer will only last until December 17.

The cinema's marketing director, Nikita Yakovlev, said that watching films at the cinema was completely different to viewing them at home, arguing that it was a "very emotional process" at the cinema.

"Of course, when you go though it with your nearest and dearest being

in bed, be it your loved one or your family, this is an absolutely another level of perception of what goes on screen," Yakovlev added.

Alyona Valovaya went to Kimostar De Lux with her husband and said, "This really gives a wow-effect. But it's such a pity it's only available until December 17. I think there are many people who would be ready to pay much more money for the ticket than it costs now, and its current cost is really less than anywhere, and to get this comfort and fun."

Viewers don't need to worry about the sheets either as they are changed after every screening.

"Everything here is on top level thanks to Ikea," Yakolev said. "Linen is changed on every bed and after every screening, slippers are disposable, and cookies are disposable, too. Everything is clean and good. So, come and don't be fastidious."

Tickets for the bed cinema are around 150 rubles (£1.60) for an afternoon show, while you can pay 300 rubles to get the bed to yourself.

The project is definitely a success as tickets for films have already sold out until 17 December. Luckily, the cinema is now considering extending the promotion until after the New Year holiday. (source: The Independent)

WHO is he?French film director, actor, scenarist and producer who directed over 30 feature films from the mid-twenties to 1970. Renoir worked in the silent era as well as the sound and colour eras and made fictional films, documentaries and television films. He won the International Award at the Venice Film Festival in 1951 for The River, which he made in India. He was the son of the celebrated Impressionist painter Pierre Auguste Renoir.WHAT are his films about?ThemesRenoir is most famous for his humanism, but it is a form of humanism that is not achieved by direct romanticisation of his protagonists. The characters in his films are often cruel, capable of violence, cowardice and ignominy, and yet, this nastiness is precisely what puts their finer hours in nobler light. As is the convention with French Poetic Realism, the characters from Renoir’s pre-war films hail from the fringes of society. The bourgeoisie, on the other hand, is gently ridiculed for its double standards. His later, light-hearted films, however, centre primarily on art and artists and explore the intersection of theatre and life.StyleRenoir has regularly been compared to Orson Welles for his use of deep focus and cavernous spaces. Like in the American director’s pictures, significant action takes place on all planes of the image. Movement — either through the actors who are being filmed or the camera — is paramount and tracking and pan shots are commonplace. Equally characteristic are downbeat endings and the use of voiceover. Shots of natural elements and everyday life are strongly redolent of Impressionist paintings as is the vibrant use of colour in his post-war work.WHY is he of interest?Renoir has had a deep influence on filmmakers worldwide, including Francois Truffaut, Akira Kurosawa and Satyajit Ray, the last of whom wrote highly about the Frenchman in many of his essays. Renoir also made films in America and India, marrying the spirit of these countries with his French sensibility and continuously deepening the film tradition.WHERE to discover him?The Grand Illusion (1937) is the work that is instantly associated with the brand of humanism Renoir is now remembered by. Set during the

Great War in the German prisoner camps, the film is doubly poignant: first for its emphasis on the human component of the war and the inherent nobility of man and also because the soon-to-come Second World War would obliterate the very possibility of such an emphasis.- SRIKANTH SRINIVASAN(source: OUTTAKE – The Hindu)

Know your Filmmaker

Jean Renoir

6

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»A¢£À ¸ÀAaPɬÄAzÀ

Today's world has taken a

bitter shape, caste, creed and

colour taking prominence.

The essence of humanity is

nearly lost. In the wake of this

s ta te H a j j e m e rg e s to

enlighten the essence of life,

of humanity.

"The screenings will be

followed by a discussion with

Director"

The whole village of Basupura is gearing up for the Chief Minister's visit on 1st December. The CM's official schedule to stay overnight at Madevappa's house naturally gives his family unusual attention from all quarters, giving them the feeling of a higher status and a brighter future. With Photo Shoots, Press Meets, discussions with local leaders, Madevappa's family is overwhelmed. But on the big day, they aren't given a chance to interact with the CM. Instead, they face embarrassing moments, becoming outsiders in their own house... a raw deal driving it to despair.

"The screenings will be followed by a discussion with Director"

8

Owned, Printed & Published by N Shashidhara (President) Suchitra Film Society; Printed at Suchitra Printers & Publishers;36, 9th Main (B.V. Karanth Road), Banashankari 2nd Stage, Bangalore-560070 Ph: 080-26711785

Editor: Prakash Belawadi, suchitrafilmsociety@gmail.com Posted at GPO Bangalore-560001 on the last day of every month.

Ph

oto

Co

urt

esy:

Sri

ha

ri

Sat 28 Feb 2015 | 6:30 PM

DECEMBER – 1 DIR: P. SHESHADRI

(2013/ India/ 97 min

Sun 1 Mar 2015 | 2:00 PMSat 28 Feb 2015 | 4:00 PM

ATHI HANNU MATHU KANAJADIR : M S PRAKASH BABU

(2014/India/90 mins)

Gouri, a documentary filmmaker, takes a journey along with her friend Vittal. She is trying to collect material for her documentary project on instrumental music, and instruments used in some parts of south India. They travel to meet a musician in a village, but he is away. Both are forced to stay in the village till the he returns. The film tries to capture the human attitude when they are placed in a situation which is familiar and at the same time unfamiliar. As the seemingly simple yet complex situations develop, how these characters fit into the landscape as much mental as physical. Sometimes “vision” isn't what is visible, "sound" isn't exactly what is heard.

"The screenings will be followed by a discussion with Director"

HAJJDIR: NIKHIL MANJOO L(2013/ India/ 99 min)

January 2015

Films are subject to change or cancellation without prior noticeFilm screenings are for members of Suchitra.Kannada Film Winners @ BIFFes

Sun 1 March 2015 | 4:00 PM

Told through the story of Hadapada

Appanna, a barber caught in a time-

warp, Agasi Parlour is a gentle and

poignant allegory of the new economy,

its inevitable consequences and the

breakdown of a way of life.

"The screenings will be followed by a

discussion with Director"

AGASI PARLOUR DIR: MAHANTESH RAMDURG

(2013/ India/ 99 min)

Sun 1 March 2015 | 6:30 PM

A story set in pre independence era, about a farmer Sankappayya & his dysfunctional family. Much to the disappointment of the family, Sankappayya is passionate about his vocation. Nani, his son, wants to explore the world beyond his father's fallacies. Lakshmi, his daughter, grapples between the father's faith and burgeoning sexual leanings. These factors lead to the confrontation within the family and the ultimate debacle. "The screenings will be followed by a discussion with Director"

PRAKRUTHI DIR : PANCHAKSHARI

(2013/ India/ 114 min)

Sat 14 Feb 2015 | 6-30 PM

German documentary film of a project undertaken by the Berlin Philharmonic principal conductor Simon Rattle and choreographer Royston Maldoom who decided to popularize classical music by staging a performance of Igor Stravinsky's ballet The Rite of Spring with a cast of 250 children recruited from Berlin's public schools.[1]"Source: Goethe Institut"

RHYTHM IS IT! (100m, 2004, Dirs: by Thomas Grube and

Enrique Sánchez Lansch.)