IFFK 2015 -BULLETIN-DAY-8

It’s with immense pleasure that I’m jotting down these words of thanks and adieu. As IFFK is coming of age by the 20th edition,

it is entering a totally new phase at this historic juncture. The selfless dedication of activists and film enthusiasts dedicated unrewarded for taking IFFK to the present heights should not go unremembered. As the saying goes, words fail to express themselves absolutely when heart grips you; especially during the moments of parting. Considering the scope and magnitude that IFFK has acquired by this edition on multiple dimensions, even the last grain of negativity, if at all there is any, simply gets evaporated into the thinny air. The huge success of this edition, inspite of all odd factors, makes me humbler and more responsible. The highly disciplined and cinematically-conscious audience deserves a hat off for their love and enthusiasm for films.

Let me thank the stimulating support extended by the state government to take this event to its superlative levels. Sri Oommen Chandy, Hon. Chief Minister, needs a special mention here for all the whole-hearted support he offered for this success. Sri Thiruvanchoor Radhakrishnan, Hon. Minister for cinema, had been functioning as the prime energizer even behind the minutest detail of the fest. Let me express my sincere gratitude to the great effort and wisdom put in by Shri.Shaji N.Karun for the success of this festival. I thankfully remember Shri.Rajeev

Nath, Chairman KSCA, and all General Council and Executive committee members, the members of different committees, volunteers and others who have concertedly put their hands and hearts to materialize the event in the present form. I would like to specially mention the hard work of my team who toiled tough, day and night for the last five months to make this event a reality. I thank the curators and programmers whose expertise well reflects on the film packages here; printing and publishing wing of IFFK, the hospitality team, the media cell, the daily bulletin team and the delegate cell. I wish to thank all the media, MD Niche and the other promotional partners for their relentless support. Let me thank them all once again, wholeheartedly.

As mentioned in the opening, the hyper energy brought by the delegates to the festival needs to be specially thanked. Words are powerless to express my heartiest gratitude, cutting across hierarchies, to all the ones who helped in making this grand event a colossal success. Let us march forward to better festivals in coming years.

With Gratitude,From the Heart of IFFK

S. Rajendran Nair, Secretary, Kerala State Chalachitra

Academy

2

Michel Franco's Chronic presents human bodies devoid of all their

desires and glamour. Nude bodies cease to be objects of voyeuristic pleasure. Instead they arouse a feeling of compassion within the viewers who can experience the essential meaninglessness of human life. David, the protagonist of the movie is a male nurse who works with terminally

ill patients. He is very much dedicated to his profession. He spends much of his time caring for their needs. His patients are satisfied with the way he treats them. Despite his dedicated service to them they die one after the other causing pain to David. Outside his professional life, David is a much reserved and ineffectual personality. Spending sometime on

Body And Its Angsts

Shibu Harisree |

treadmill and doing regular jogging are ways by which he gives some relief to his tormented self. He was hit by a car while he was taking a careless jogging along the busy highway. His sudden and unexpected death itself is a testament of how disturbed a being he was beneath the veneer of his composite Personality.

Death is portrayed as the logical and natural conclusion of the diseased body, here. Contrary to the usual cinematic representation of human body as a source of pleasure and desire, Chronic depicts body as helpless and weak. We will be stunned to see the unexpected death of the protagonist on the road. Death is portrayed in this movie as an entity that is already everywhere. Chronic is the stark reminder of the meaninglessness of life. The mis en scene shots throughout the movie try to capture this philosophic undertone. The movie doesn't carry the burden of a full-fledged fiction. Instead it communicates the essential human plight through carefully designed scenes. That may be the reason why the movie received best screenplay award at Cannes Film Festival.

Satarupa Sanyal, a serious Bengali filmmaker and an extreme feminist,

has directed short films, teles, docus, awareness and feature films for more than half-century. She is an extreme critic of patriarchy and has claimed its disease as to it "a woman is nothing more than a reproductive tool" and "commodity goods." She said, 'It is worsened when a person in the system is unaware of his or her gender identity.'

Opalaa... The Journey Of A Woman is Satarupa's latest film slotted in Indian

Cinema section of IFFK 2015. She narrates by camera as Opalaa is married into a rich Bengali family; but on the night after the end of marriage the night to her turns into a shocking nightmare when she hears from Sham, her husband that he is dedicated to his Lord and there would never be any sexual relationship between them. The narration passes through climax, by the time Opalaa discovers that Shyam is sexually involved with the family priest, Ananta which is unwarranted and panicking to her. Twenty five years after

the demise of Shyam, one day Ananta came to Opalaa asking for shelter. She insults him and denies his appeal. Ananta, once respected by all, gets shock and dies that night. In the anti-climax, Satarupa sketches, on the same day Opalaa discovers something new about Atanu - changes her mind and her encircled world.

The movie was rated by the viewers two stars in other festivals.

Prabash Mukhopadhyay |

Gender Identity Crisis Is A Non-Curable Soar Of Patriarchy

11th December 20153

Considered by many to be the ‘elder statesman’ of Iranian Cinema, Dariush

Mehrjui’s contribution to world films can be dated back to the reign of the Shah. An adoring student of Sathyajith Ray, the veteran director opened up about life and cinema in Iran while conversing with Daily Bulletin.

About the LTA Award…IFFK decided that I deserve LTA award

this year and screened all my movies. For this I am honoured. The fest has an exceptional crowd who are greatly intelligent about the cinema world. So I am elated to be a recipient of such a prestigious prize.

Gaav and birth of Iranian New Wave…

Gaav was one of the movies which were directly responsible for initiating the Iranian cinematic renaissance. Till that time, new thoughts or movements in Cinema world were not welcomed. But Gaav had some fresh perspectives and ingredients which attracted the public at that time. This trend still continues, even after revolution. After watching the movie, Ayatollah Khomeini said: “We are not against cinema, but the corruption of cinema”. So Gaav opened a road for film makers like us to understand what kind of film could Islamic Government tolerate, which as you see, continues…

Iranian Revolution and Cinema…The revolution had brought

upon many changes in Iran. I had enthusiastically taken part in the revolution, also. But sad part was that there were no real or sustainable changes

I Will Not Flee From My Country

because the mentality of Iranian people still could not tolerate films above their own consciousness or awareness. When something intelligent or affective is shown, they fear that it might cause intolerance and goes on to ban them. The School We Went To was released after the revolution, but still suffered 11 years of banning. Contrary to the pre-revolutionary attitude of the censors which was keen about political and social content, post-revolution focused on religious, sexual and emotional issues. I never show a man and woman together in a bedroom because even then the women would be wearing a scarf and it would look ridiculous. Sex is still an issue in the Orientals. I think in India also you don’t show intimate scenes to escape censoring.

Women in my movies…After revolution, my attitude in

filmmaking changed and I focused more on middle class. At that time I made series of movies about women and their oppression. In a male dominating society, they were the ones who suffered the most, not just physically, but also mentally. Sara, Leila, Baanoo, Pari were all women-centric movies. But now there are more and more movies being made which show women as strong individuals and revolting against unjust situations, which is great.

Iranian Filmmakers now…Film makers like Bahman Ghobadi,

Shahram Alidi, Anvari, and so on make great movies by taking many risks. But many of the new directors couldn’t stand the situation in Iran and leave the country to make movies outside. Even I was abroad for a while, but I kept coming back. Among the lot, I like Asghar Farhadi’s films. He has a bright future ahead if he continues this way. I would say he is the one who follows my trend in film making.

Jayasree C |

4

The 20th edition of IFFK was one of the most well-attended of festivals in recent times; the number of delegates just

swelled to fill the additional 2500 seats made available this year. The presence of youth and students in large numbers, created an atmosphere that was charged with enthusiasm and passion for cinema. The long, patient queues, the informal yet heated discussions and gatherings, the spontaneous expressions of protest and joy at the venues, all these were always very much part of it. The increasing participation of women – most probably IFFK holds the record for female participation among Indian film festivals – has also been very significant

and most welcome. One seldom finds such female participation – especially of students - in any other cultural event in the State. There were many first-timers and many of them will become festival-regulars in the coming years. But even for those who are not able to manage it during the next editions, the experience of watching films this time must have been a mind-opener. These films must have taken them on a journey to distant landscapes, cultures, cityscapes, customs and traditions of far-away places and people. Essentially, this journey through films is also an internal one: where the viewer him/herself invariably gets lost in the narratives, and making connections with certain faces, instances, visuals,

dialogues or moments in inexplicable and mysterious ways. Most importantly, it also took the viewer through the life struggles, dreams, frustrations and elations of people around the globe. These journeys, in a way, enrich us within and also provide perspectives and understandings about our own lives and dilemmas, from very enchanting and sometimes strange angles. It is this journey beyond the confines, or prison houses of our self, that constitute the lure of cinema and occasions like this. Hope these films will continue to live and grow within us.. Adieu till we meet again at IFFK 2016...

[email protected]

Adieu, till we meet next year...CS Venkiteswaran |

meet THE Press

“The International Film Festival of Kerala (IFFK) stands ahead of many international festivals like Venice, Busan, and Berlin in terms of organisation, quality of films screened and the crowd present”, said the overwhelmed Nepali director Min Bahadur Bham.

He was speaking at a press conference, along with the German Cinematographer Lutz Reteimeir and Philippine director June Robles Lana on the penultimate day of the international fest held at the Tagore theatre premises.

The audience poll for 20th edition of International Film Festival of Kerala (IFFK), 2015 started yesterday. The delegates and media can vote for their favourite films screened in ‘Competition’ category either through their online IFFK log-in account till 2 pm today or via SMS. The format for SMS voting will be intimated by the festival authorities in the registered mobile numbers.

The delegates can also rate the movies screened in ‘World Cinema’ category with their online log-in account. The ‘Delegate Cell’ at Tagore Theatre premises will help the delegates with voting.

IFFK Ahead Of The Film Festivals Of Venice, Busan And Berlin

Min Bahadur Bham

11th December 20155

K RamachandraBabu handing over the first copy of 'A VincentEnna Aloysius Vincent' to actor Madhu

Aryadan Shoukath handing over the first copy of 'Yusufali Kechery'to Shaji Kailas

Academy Chairman T Rajeevnath handing over the first copy of'Vishwasangeetham' to Director KR Mohanan

Street magic performed by Shamsudheen Cherpulassery, organized by Kerala Sangeetha Nataka Academy.

IFFK paid homage, releasing a book, to three legendary figures of Indian Cinema - A Vincent, Yusufali Kechery and M S Viswanathan by on them.

A Vincent enna Vincent, penned by Prashanth Mithran, was released by the veteran actor Madhu. “Vincent master fostered the actor and director in me. I got the rare opportunity to be associated with him for his movies. The lessons learned from him inspired me for the debut directorial venture,” said Madhu.

The book on the evocative lyricist Yusufali Kechery, written by T P Shasthamangalam, was released by Aryadan Shoukath. Popular director Shaji Kailas received the first copy of the book. The author explained his research on the book

The festival assemblage also paid homage to the veteran musician M S Viswanathan by releasing a book named Viswasangeetham, edited by M D Manoj. Kerala State Chalachitra Academy chairman T Rajeev Nath handed over the first copy to noted filmmaker K R Mohanan.

Homage Paid To Veterans Of Industry

The 20th edition of IFFK has benefitted from the installation of

eight DCI-certified Qube XPI Digital Cinema servers, which has improved viewer experience for delegates.

Real Image Media Technologies (RIMT), the IFFK’s technical partner, also performs quality checks prior to the screenings, ensuring the films play in correct video and audio formats and subtitles. RIMT also manages digital license keys for the entire festival. A RIMT team of 20 engineers along with project co-ordinators are working around the clock to ensure screenings take place as scheduled and that screening quality is at a premium.

“Cinema is an integral part of our current and emerging socio-cultural fabric. Real Image and Qube Cinema’s association

IFFK Embraces New Techwith the IFFK is an asset in sustaining this trend,” said Shaji N Karun, chairman of the advisory committee, IFFK 2015.

“This association represents RIMT’s commitment to bringing digital cinema to the larger audience. Therefore, to me, there is no IFFK with meaningful cinema and technology, without RIMT’s association.” Qube Cinema, a key player in film and broadcast technology in India for nearly 30 years, has worked to create seamless Digital Cinema environments for exhibitors, filmmakers and postproduction companies with technologies that are innovative, flexible and cost-effective.

6

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IoÀ-¯-\ a®bw |

Festival Director T Rajeevnath, Chaiman KSCA Chief Editor S Rajendran Nair, Secretary KSCA Editorial Board Chairman J Ajith Kumar

Convenor Renji Kuriakose Coordinator Jayanthi Narendranath Members Alex Vallikunnam, CP Sree Harshan, Beena Khalam, Sajeev, Anand

Executive Editor Sadeesh Chalippadam Associate Editor Mammed Montage Assistant Editor TM Hisham Sub Editor Haris Nenmeni

Reporters Amala T Chacko, Jayasree C, Keerthana Mannayam Stills Ajay Saga, Shijin V K Design & Layout Shabeer M P Layout Assistant

Saeed Fasal Printing Akshara Offset, Thiruvananthapuram Editorial Support Haris Kormath

Printed & published by S Rajendran Nair, Secretary, Kerala State Chalachitra Academy, Thiruvananthapuram on behalf of the Department of Cultural Affairs, Govt of Kerala.

11th December 20157

The sunsets that filled with iridescent colours of joy and heated discussions on various aspects of film and life are coming

to an end while the curtain falls on the 20th edition of IFFK. Commemorating the achievements of past 19 years of eventful

journey, the 20th edition of IFFK brings an everlasting memory in the mind of every delegate. Accommodating above 12,000 delegates, this time the festival offered a package of more than 180 films under 14 categories. The installations of Chayakkada and Kaalavandi (bullock cart)

gave a tinge of memory of the good old days of the festivals attracting the delegates.

Nedumudi Venu, the veteran actor in Malayalam Cinema, appreciated the organisational perfection and selection of the films. “The reservation system newly introduced has helped to manage the crowd”, says the actor. The 20th edition of IFFK got a new dimension through its organisational management. “This time the issues between the organisers and the delegates are few. Screening of good films and introduction of new venues attracted

more delegates and gave space for sharing their views,” says the Award Winning Malayalam film director, Sudevan. For Sara Andriea, who is living in Thiruvananthapuram for more than three years, IFFK is an opportunity to meet her friends from Italy and watch her favourite

films. “Comparing to other editions, this time I felt a crowd-free environment and I got the chance to watch the Italian films”, she says. Renowned cinematographer Azhagappan opined that in IFFK, the international movies are getting larger viewership compared to the regional movies. “The movies in 20th IFFK”, he said, “have maintained

their quality on an above-average level”. Hassan Nazer, the director of Utopia was surprised to see the passion of the people to watch films in IFFK.

Amala T Chacko |

IFFK 2015World Cinema attracts Larger Viewership

Nedumudi Venu

Sara Andriea

Hassan Nazer

Sudevan

Azhagappan

aeb‑mf¯‑ns‑e ]‑pX‑pXea‑pd Ne ¨‑n{‑X‑w AYh‑m \‑y‑q P\t‑dj³

k‑n\‑na Bc‑ps‑S k‑rj‑vS‑nb‑mW‑v? t‑Icf¯‑ns‑e \‑Kc þAÀ² \K‑c‑§Ä t‑I{‑µ‑o‑I‑c‑n¨‑v hfÀ¶‑p‑h¶ k‑n\‑na‑m h‑yhk‑mb¯‑ns‑\‑m¸‑w \‑ne b‑pd¸‑n¨ Ne‑¨‑n{‑X k‑wk‑vI‑m‑c‑a‑mW‑v \‑y‑qPdt‑\j³. \‑mKc‑nI a[‑yhÀK¯‑ns‑â A`‑n‑c‑p‑N‑n‑IÄ‑, I‑mg‑vN i‑oe‑§Ä F¶‑n‑h‑b‑n‑t‑e¡‑v k‑n\‑na N‑pc‑p‑§‑p‑¶‑p. \K‑c‑¯‑ns‑e b‑ph‑m‑¡Ä¡‑p‑t‑h‑ï‑n‑b‑mW‑v‑ X§Ä N‑n{‑X‑§Ä s‑N¿‑p‑¶‑s‑X¶‑v FÃ‑m k‑wh‑n‑[‑m‑b‑Ic‑p‑w Ah‑I‑m‑i‑s‑¸‑«‑p‑X‑p‑S‑§‑n. b‑ph‑m‑¡Ä, \Kc‑w F¶‑o cï‑nS‑§‑f‑n‑t‑e¡‑v k‑n\‑na t‑I{‑µ‑o‑I‑c‑n‑¡‑p‑¶‑p. {‑]t‑ab‑w ‑a‑p‑X I‑mg‑vN‑¡‑mÀ‑hs‑c FÃ‑m t‑aJ‑e‑b‑ne‑p‑w C‑u ]‑pX‑pXea‑pd t‑_‑m[‑w {‑]X‑n‑^‑e‑n‑¨‑p. C‑u ]‑pX‑pXea‑pd N‑n{‑X§Ä Gä‑pa‑p«‑nbX‑v \‑neh‑ne‑pï‑m b‑nc‑p¶ X‑mct‑I{‑µ‑oI‑rXa‑mb Ne¨‑n{‑X

h‑yhk‑mbt‑¯‑mS‑mW‑v. \‑K‑c AÀ‑² \‑K‑c‑§Ä t‑I‑{‑µ‑o‑I‑c‑n‑¨‑v c‑q]‑w‑s‑I‑m‑ï ^‑m³‑k‑v A‑t‑k‑m‑k‑n‑t‑b‑j‑\‑p‑I‑f‑m‑b‑n‑c‑p‑¶‑p X‑mc t‑I{‑µ‑oI‑rX k‑n\‑nab‑ps‑S t‑h‑m‑«‑v _‑m‑¦‑v. X‑m‑c‑§‑f‑p‑s‑S ^‑m³‑k‑pI‑s‑f X‑r‑]‑v‑X‑n‑s‑¸‑S‑p‑¯‑p‑¶ \‑n‑ch‑[‑n N‑n‑{‑X‑§Ä C‑¡‑me‑¯‑v ]‑p‑d‑¯‑p‑h¶‑p. AÀ° c‑m{‑X‑n‑b‑ne‑p‑w s‑hf‑p‑¸‑m³I‑m‑e¯‑p‑w N‑n{‑X‑§Ä d‑ne‑ok‑v s‑Nb‑vX‑v ̂ ‑m³k‑p‑Is‑f BIÀj‑n‑¡‑p‑I‑b‑m‑b‑n‑c‑p¶‑p a‑mÀ¡‑ä‑n‑wK‑v X{‑´‑w. h‑yhk‑mb‑w ]‑qÀWa‑mb‑p‑w X‑mc§f‑nt‑e¡‑v t‑I{‑µ‑oIc‑n¨‑p. k‑n\‑na‑mh‑n]W‑nb‑ps‑S \‑ne \‑nÂ]‑p‑w Pb]c‑mPb§f‑p‑w X‑mc§s‑f B{‑ib‑n¨‑mb‑n. \‑nÀa‑mW‑w‑, h‑nXcW‑w‑, {‑]ZÀi\ i‑r‑wJe‑, k‑mäs‑s‑eä‑v‑, ]IÀ¸hI‑mi§Ä F¶‑n§s‑\ Ne¨‑n{‑X h‑yhk‑mb ka‑p¨b‑‑w X‑mct‑I{‑µ‑nXa‑mb‑n. Ie F¶ \‑neb‑n k‑wh‑n[‑mbIÀ¡‑p‑w Fg‑p¯‑pI‑mÀ¡‑p‑w aä‑v k‑mt‑¦X‑nh‑nZK‑v[À¡‑pa‑pï‑mb‑nc‑p¶ t‑aÂs‑s‑¡ \j‑vSa‑mb‑n. X‑mcþ\‑mbI t‑I{‑µ‑nXa‑mb aeb‑mf k‑n\‑na‑m h‑yhk‑mbþ Ie‑mc‑q]

s‑¯b‑mW‑v bY‑mÀ°¯‑n \‑y‑q P\t‑dj³ k‑n\‑na A«‑nad‑n¨X‑v. AX‑v X‑mcs‑¯ h‑yhk‑mb t‑I{‑µ¯‑n \‑n¶‑v \‑n¶‑v ]‑pd¯‑m¡‑n. \‑mbI\‑v ]Ic‑w {‑]t‑abh‑p‑w BJ‑y‑m\h‑p‑w t‑I{‑µØ‑m\¯‑v h¶‑p. F¶‑m t‑e‑mI k‑n\‑nab‑n \hXc‑wK‑w F¶‑ph‑nf‑n¡‑mh‑p¶ I‑mg‑vN‑m h‑n¹t‑¯‑mt‑S‑m‑, C´‑y³ \hXc‑wK‑w‑, BÀS‑v l‑uk‑v k‑n\‑naIÄ‑, c‑mj‑v{‑S‑ob k‑n\‑naIÄ‑, a‑q¶‑m‑wt‑e‑mIk‑n\‑naIÄ X‑pS§‑nb Z‑ri‑yIe‑m]c‑nW‑ma Nc‑n {‑Xt‑¯‑mt‑S‑m I®‑nt‑Nc‑p¶‑pt‑ï‑m ae b‑mf ]‑pX‑pXea‑pd Ne¨‑n{‑X§Ä? BJ‑y‑m\s‑¯ Bh‑nj‑vI‑mcs‑¯ I‑mg‑vN s‑b¯s‑¶ ]‑p\À\‑nÀ½‑n¡‑p¶ Ie‑m Ie‑m]a‑mb‑n \‑y‑q P\t‑dj³ k‑n\‑nas‑b I‑mW‑m\‑mh‑pt‑a‑m? At‑X‑m As‑X‑mc‑p h‑n]W‑n {‑]X‑n`‑mka‑mb‑nc‑pt‑¶‑m? AXd‑n bWs‑a¦‑n k‑n\‑nab‑ps‑S Ie‑m Nc‑n{‑X¯‑n Fh‑ns‑Sb‑mW‑v \‑y‑q P\ t‑dj³ k‑n\‑naIf‑ps‑S Ø‑m\‑w F¶‑p Is‑ït¯−nbncn¡p¶p.

sI.]n. PbIpamÀ |

X‑mc‑{‑]‑`‑m‑h‑s‑¯ ad‑n‑I‑S‑¡‑p¶ \‑y‑q P\‑t‑d‑j³ k‑n\‑n‑a‑IÄ

8

This is not an ending, but the blossoming of a dream. For any festival

lover, these are going to be the moments of anguish, not of farewell, but of the reunions to come. “The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.” says Keanu Reaves; and definitely IFFK fulfils it in an absolutely unique way, especially as the time is growing all the more demanding. 20th edition of IFFK has proved its own relevance on all these grounds.

IFFK has crossed the milestone of two decades and acquired its merit and character and has carved itself a niche

in the calendar of world Film Festivals. From the treasure of the experience of the two decades, it is time that we started planning and discussing for the coming decade with hopes and dreams befitting that. IFFK during the next decade has to evolve a face confronting and accommodating all the challenges and prospectus the time ahead keeps in store for it.

The next decade is to be a decade of constructive change for IFFK. It should creatively change itself into a gate way of world cinema. We have to convert the Fest into a global platform, so that films would be submitted for IFFK without being invited by directors from across

the world. As Shaji N Karun, Director IFFK 2015, suggested, IFFK is moulding itself as a sharing hub of World cinema, may be cooperating with festivals like the Dubai Film Fest in immediate future. It has to develop a market where all the international filmmakers will be ready present their movies.

It’s time now to call it a day, so that we can all return to IFFK 2016 with mustered hopes. The vitality and vivacity that we garnered from the 20th edition IFFK would be a source for the times to come. Adieu, for the time being, to meet in the days to come and for the festivals ahead.

Bye For Now, Will Meet Next Time....

Daily Bulletin Team |

MASTER CLASS on Documentary as an art3pm - 4pm | Executive Lounge,Mascot HotelNathali David

Closing Ceremony6.00 PMNishagandhi Auditorium

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Ajay Saga