Tag Archives: Kerala film

Kim Ki Duk to Adeyapartha Rajan: IFFK 2012

IFFK 2012 Office at Kairali complex Thampanur, Tvm, Kerala

IFFK 2012 media centre at Kairali complex Thampanur, Tvm, Kerala

young delegates and students at Kairali

young delegates and students at Kairali

Dipa Mehta in conversation at Sree.  Her Midnight's Children was a crowd puller in IFFK 2012

Dipa Mehta in conversation at Sree. Her Midnight’s Children was a crowd puller in IFFK 2012. Dipa also openly criticized the very idea of censorship in culture.

Kairali complex bearing the logo of IFFK 2012

Kairali complex bearing the logo of IFFK 2012 milked by the morning sunshine

Poet Anwar Ali and friends at the fest

Poet Anwar Ali and friends at the fest

East Fort in Tvm where the neo nationalist anthem was played before each screening in Sri Papanava theatre violating the cosmopolitan culture of the festival.  It was also an insult to the national anthem and the constitution.  A naked heinous aggressive fascist act by the Savarna fascists in Kerala capital.

East Fort in Tvm where a ‘neo nationalist anthem’ was played before each screening in Sri Papanava hall, violating the cosmopolitan culture and protocol of the festival. It was an insult to India’s national anthem and the constitution. A naked heinous aggressive fascist act by the Savarna fascists in Kerala capital. The ministry and political leadership is answerable for such condemnable bits.

Renovated public square in East Fort, Tvm.

Renovated public square in East Fort, Tvm.

With film buffs, Prof Isthahac and Dr P S Radhakrishnan before New Theatre.  Photo: Seena Panoly

With film buffs and critics, Prof Isthahac and Dr P S Radhakrishnan before New Theatre. Photo: Seena Panoly

Padmateertha Kulam, an ancient pond in Tvm inside the Fort before the temple.  It could be a silent witness to the conversion of Padmapani boddhistva to Padmanabha Vishnu in 8th century.  Anyway the affix Padma still stays...

Padmateertha Kulam, an ancient pond in Tvm inside the Fort before the temple. It could be a silent witness to the conversion of Padmapani boddhistava to Padmanabha Vishnu in the 8th century. Anyway the affix Padma still stays…

Bina Paul, artistic director and the woman behind the international film festival of Kerala, with her team of youngsters behind each venue.

Bina Paul (sitting), artistic director and the woman behind the international film festival of Kerala, with her team of youngsters prompt behind each venue.

East Fort, Tvam in the evening light from the west.

East Fort, Tvm in the evening light from the west.

A double decker KSRTC bus at Kizhake Kotta, Tvm. A favorite with children and the young in mind.

A double decker KSRTC bus at Kizhake Kotta, Tvm. A favorite with children and the young in mind.

Banana chips and fries in East Fort market, Tvm.

Banana, Jack chips, fries and nuts in East Fort market, Tvm.

East Fort and the historic Methan Mani (Mohammedan Clock) inside, built as a symbolic hit at the Mysore sultans especially Tipu by the Travancore kingdom that was spared in the Mysore occupation due to the British attack in Srirangapatanam.

East Fort and the historic Methan Mani (Mohammedan Clock) inside and annexed to Kuthira Malika, built as a symbolic hit at the Mysore sultans especially Tipu by the Travancore kingdom that was spared in the Mysore occupation due to the British attack in Srirangapatna and the treaty of 1792.

 

Idol of Sri Chatambi Swamy inside the fort in Tvm, a leading sage and reformer who fought the Vedic hegemony and caste during the Kerala renaissance.

An interesting idol of Sri Chatambi Swamy (1853-1924) inside the fort in Tvm, a leading sage and reformer who fought the Vedic hegemony (Veda Adhikara Nirupanam)  and caste elitism during the Kerala renaissance in early 20th century.

 

The people in the festival, defying all the fascist attempts of appropriating it, watching films politically, engaging in hot debates and acts of resistance and liberation.  Films of Kim Ki Duk were block busters in the fest and new directors from Kerala like Kamal K M and Adeyapartha Rajan were promising.  Cheekha the Crier by by Adeya Rajan was a phenomenal debut film from a young director that interrogated multiple ways of freedom... in the material, spiritual, aesthetic and many other worlds.

The people in the festival, defying all the fascist attempts of appropriating it, watching films politically, engaging in hot debates and acts of resistance and liberation. Films of Kim Ki Duk; Arirang and Pieta were block busters in the fest and new directors from Kerala like Kamal K M and Adeyapartha Rajan were promising. Cheekha the Crier by Adeya Rajan was a phenomenal debut film from a young master that interrogated multiple ways of freedom… in the material, spiritual, aesthetic and many other worlds.

New Malayalam Cinema and Theatre:IFFK and ITFoK 2010

Theatre, painting, cinema and more: Sagara Kanyaka by Abhinaya

Malayalam film and theatre are vibrant and dynamic, show the international film and theatre festivals just held in Thiruvananthapuram and Thrissur respectively in December 2010. The passing year points towards a hopeful future for our art and struggles.

Dramatic spirit of Latin America: A Chilean play, ITFoK 2010

These festivals that showcase our contemporary cultural productions, represented the live and invaluable expressions of Malayalam artistes and directors belonging to the younger generation in purticular.  Films by Shyamaprasad, Dr Biju, Vipin Vijay etc. prove that cinema is entering a serious bold hybridity of creative enquiry and political sensitivity. With Electra and Chitrasutram Malayalam cinema intervenes in culture, politics and history in a whole new way.

Of endless female desires: Parvathy in Sagara Kanyaka

In films like Vipin’s Chitrasutram our cinema delves into a queer new phase of subversive and critical exploration in both the cinematic medium and message.  The young director uses the potentials of bizarre visuals and cyber sounds to express a serious critique of the world of cinema, representation and the world of his own linguistic culture.

Reghuthaman and Parvathy in Sagara Kanyaka

The film is a radical response to cultural elitism and fascism that thrive in contemporary culture in Kerala.  It is a creative response to chauvinism and cultural hegemony that are reproduced even in cyber culture in Malayalam.  The surreal imagery and fragmented narrative attract the next generation viewers who are interested in the future of our small culture and society.

Beyond tribal and folk theatre: From an Assamese play

The plays staged at ITFoK also proved that Malayalam theatre is on par with any other threatrical culture today whether it is Chile or Japan. Sagarakanyaka an adaptation of Ibsen’s Lady from the Sea by Abhinaya Theatre Research Centre of Trivandrum, directed by Jyotish, featuring Reghuthaman and Parvathy on the lead roles proved to be a total trans-theatrical experience, exploring the polyphonic possibilities of the visual, sound, painting, sculpture, installation, digital art, body and much much more.  The play is also vital for its powerful gender politics and voicing the feminist question.

Seductive and spectacular stage: ITFoK 2010

The play performed by tribal artistes from Assam proved to be really performative and theatrically engaging.  The plays from Latin America revealed the struggles and resistances of people in the third world against imperialisms of many kind in an exhilarating dramatic idiom of drama.  The international festivals of film and theatre organized by the government academia with public fund prove to be meaningful and productive for the large scale participation and overwhelming cultural interest of the people.

Festival of young folks: Theatre students in rythmic dance