Here are the top stories of the week!
A dishevelled-looking hero takes the witness box; he’s anything but timid. He pours forth a scorn for society with lines crafted by a wordsmith, and eyes that radiate anger. Even today, 56 years after it was first screened, the nearly five-minute-long court scene in Parasakthi can leave one awestruck. Not just for the fiery dialogues by M Karunanidhi or newcomer Sivaji Ganesan’s feisty performance, but also for the thought behind the dialogues, and for being among the first few movies to spread an ideology that was still a spark in someone’s eyes.
In the 1950s movie space which was otherwise dominated by rich costume dramas or religious films, Panam (1952), with lines penned by the late M Karunanidhi, chose to ridicule the society for its obsession with wealth, hierarchy, and superstition.
Read full story: ‘Panam’, A Reformist Social Drama With M Karunanidhi’s Dialogues
Kannada film Katheyondhu Shuruvagidhe has gone against the grain in many ways – a slice-of-life story, characters that defy stereotypes, organic performances and the sea that plays a soothing lullaby but also roils when someone is in grief.
The recent edition of the Jerusalem Film Festival was notable for the number of local films it featured on the orthodox religious communities in Israel. Coming from an industry that is largely characterised by its Left leanings and secular cinema, it might well represent a shift in the country’s socio-political thought.
In 2018, Sayanora Philip made two debuts. The singer turned music composer for rural drama Kuttanpillaiyude Sivarathri, becoming one of the few women in India to do that.
Read full interview: Sayanora Philip: ‘The Film Industry Assumes Women Can’t Be Composers’
Debut director Rahul Ravindran, whose film Chi La Sow has been receiving rave reviews, is overwhelmed by how people have read the film. It’s almost like the Telugu audience wants to hold on to two characters unlike anything they’ve seen so far. They both have backstories. He’s a man-child, she’s almost middle-aged in her mindset, and they have to step back and walk – he forward and she backward, to meet in the middle, in their real ages.
Read full story: Decoding Arjun And Anjali Of ‘Chi La Sow’