Traveling Uranium Film Festival in India- start from New Delhi on 4th Jan 2013 #mustshare


 

The Traveling  International Uranium Film Festival  is going to be inaugurated  in New Delhi  on January 4th  in Siri Fort auditorium no. 3 and will be on  road  to  major Indian cities  like  Shillong , Ranchi, Hyderabad,  Mumbai, Pune, Chennai and  finally end its journey as part of VIBGYOR International film festival , Thrissur ( Kerala )  in February, 2013.  The festival will offer wide range of animation videos, short films, documentaries and even feature films from  all over the world.  International Uranium  Film Festival was  first held in Rio (Brazil) and then travelled to cities in Portugal,  Berlin (Germany )  and  would move to  New York  after the Indian edition.

Green energy vs. Nuclear energy is today the most engaging contemporary debate in India. In this crucial period, there is a need to move the debate further and we feel that  art and culture is the best medium to reach a large audience. Today when India  and other  developing countries need energy to meet the needs of the people ,  establishments   are ambitious to go to any  limit to achieve their goal . As  down south,  our fisherman brother and sisters have been raising  concerns  and anxious about clean environment ,  unfortunately instead of addressing their concerns, they  are being   labeled as anti-national and anti-development. We need to just stop and ponder. Shouldn’t we learn from experiences of the communities of the past to take new decision? asks National award winning  documentary filmmaker Shriprakash, Festival director of the India edition.

“ Independent information is the base for independent decisions. The festival stimulates the discussion about the nuclear question and stimulates the production of new documentaries, movies and animated films about any nuclear or radioactive issue. In addition Uranium Film            Festival creates a neutral space to throw light on all nuclear issues .Societies and peoples have the right of choice if they want to follow the nuclear road or not” says Mr. Norbert,  international festival director

 

“  All the local organizers  are working  hard on the last minute work related to this event and  we are  excited for the response of the people towards this festival “   adds  shriprakash

Here is the schedule for the festival :

 

Delhi–      Siri Fort auditorium no.3 (4-6 Jan 2013)

Shillong–   Hotel Majestic , Shillong (10-11 jan 2013)

Ranchi–    Mass com auditorium,  Central University,  Jharkhand , Ranchi  15th Jan /Ranjendra  institute of medical sciences, ranchi, 16thjan    International Library and Cultural Center , Club Road Ranchi- 17 jan 2013

Hyderabad –  Golden Threshold Campus  auditorium /  Main campus auditorium ,  S.N  School of communication & art (Central university of Hyderabad)  and Humanities auditorium (University of Hyderabad) ( 22-24 January , 2013 ) and lamkaan,  road no.5, Banjara Hills   ( 25th January )

Pune–   Bal Gandharva  auditorium , Jungli  Maharaj Road, Pune ( 27- 31 January, 2013 )

Mumbai –  Ajmera house, next to grant road station west/Bupesh Gupta Bhawan Prabha devi ,   ( 2-3 February , 2013 )

Chennai–  Asian collages of Journalism, behind MS Swaminathan research foundation ,Taramani ( 5- 7 February , 2013 )

Thrissur   –  Kerala Sangeet Nataka Academy campus, Thrissur ,  VIBGYOR Film Festival  (  7-12 February , 2013 )

 

for further details contact-

Shriprakash
09431580434/08809854907

 

#Censorship kills cinema, says filmmaker Makhmalbaf


M. P. Praveen, The Hindu

Kochi, Dec16.2012

Mohsen Makhmalbaf, the acclaimed Iranian director who has left an indelible stamp in global cinema, has a very simple philosophy towards filmmaking – change the world.

Never known to mince words or being diplomatic either in films or in real life, Makhmalbaf, clad in his trademark black shirt and black trousers and accompanied by his wife Marziyeh Meshkini, a filmmaker of repute in her own right, spoke about his films, the Iranian society, democracy and the need for a change in civilization. He was in the city on Saturday as part of the Kochi International Film Festival set to get underway here on Sunday.

“When I see so much poverty around me how can I make films about poetry,” Mr. Makhmalbaf quipped with innate honesty when asked about the extreme realism in his movie sometimes at the cost of the aesthetics of the medium of cinema. That is why he felt compelled to make his much celebrated film ‘Kandahar’ that told the horrors of the Taliban regime in Afghanistan. Calling himself a “little entertainer”, he said that the emphasis is on giving a valid message for the audience to ponder over when they come out of the movie house.

Thrown behind the bars at the age of 17 for opposing the repressive regime of the Shah, he said that the courage to stand up to dictatorship and injustice evolved during the five years he spent in prison during which he read about 2,000 books of all hues.

Mr. Makhmalbaf, however, was quick to add that he is not a one dimensional filmmaker. “I draw my concept from reality. Besides, the situations and the people I encounter, the places I see and my own mood dictate my decision on the next film,” he said. His next project is based on European refugees. He had strong words against Hollywood castigating it as responsible for the death of regional films in many countries. Mr. Makhmalbaf said that the censorship prevailing in Iran should not be mistaken as contributing to the wider global acceptance of Iranian movies. Rather, he attributed it to simplicity, social concepts based on which they are being made, realistic treatment, its root in poetry, the constant search to find something new. One could find the same reasons in the Indian movie ‘Pather Panchali,’ he felt. “Censorship kills cinema. Sometimes a little pressure gives filmmakers more energy to fight it. But strangulate them and they will die. That’s why many Iranian filmmakers are not able to make films there now,” he said. Mr. Makhmalbaf was not much euphoric about the popular uprisings in West Asian countries like Egypt. Egypt’s case is similar to Iran in the years after Islamic Revolution. “At that time, we thought that all our problems will be solved if the king goes. But he was replaced by a religious dictator. In our quest for democracy, we lost everything including liberalism and secularism,” he said.

He feels that democracy without morality is futile. Democracy is about vote of the majority but without morality the minority will be alienated.

 

An Open Letter to Anurag Kashyap and his 12.12.12 project. #kractivism


121212

LATEST UPDATE CLICK HERE

IMPACT OF POSTING THIS LETTER HERE, MESSAGE FROM THE FILMMAKER– ‘KRACKTIVISM”

( Within 3 hours after putting this post- picture abhi baak hai dost :-P)

“Shilpa has been refunded the expenses she incurred on making the film and Showhouse’s Large Short Films has promised to give her copyright over her work soon subsequent to the circulation of the open letter. She is waiting for it in writing. She stands by the issues she raised and thanks everyone for the immense kind support” Thanks Kamayani this would not have been possible without you. You are really awesome!

I am a Mysore based woman filmmaker who was chosen by you to be part of the Mega Movies project 12.12.12 executed by Showhouse Entertainment’s Large Short Films Wing. I am writing this open letter because I think public discourse is important given that over the years you have come to occupy such an important space within what you call ‘independent cinema’.

Also no one from the company that you endorse, as well as you, thinks it is important to have a dialogue with me about unpaid wages, disrespect and unfair dismissal which has caused me tremendous amount of financial, emotional stress. There is also a much touted save indie cinema doing the rounds and what it fails to add to the discourse (not surprising going by the kind of signatories it claims) is what I want to talk about. Changing the look of how you produce cinema and being backed by big studio capital isn’t really independent. I think it is important to bring this into the public domain as the silences around working practices result in the perpetuation of exploitative systems and weed out filmmakers based on their class, caste, gender, religion and language.

It was absolutely no surprise when I saw that the list of 12 directors included no woman. So apparently out of 600 entries only I, the sole woman, made it to the shortlist and because I decided to speak up and not be quiet about how my film was going to tortured and beaten into becoming the kind of objects that you seem to grant your blessings to, 12.12.12 is now officially an all male production.

I bring your notice to this because the tone of the company with regard to objections I raised has been patronising, condescending and dismissive. Well meaning friends and critics will tell me that’s how it works, that’s the industry,
the industry that works on free labour, meant for those who have the money to afford the time to chase dreams. It’s not meant for women like me who have no big daddies or brothers or husbands supporting them. It isn’t meant for women
like me who choose to work in a language other than Hindi and it definitely isn’t meant for women like me who don’t know how to waddle along consenting to practices that make people like you and the companies you endorse just richer
on the back of such exploitative practices.

You sent me an email stipulating that I would not be in touch with any of the other 11 directors (an effective way I must say to curb dissent and this goes by the name of being collaborative!) The contract also stipulated that I would be paid once I handed over the film contrary to what the rules on the contest page initially stated wherein I was supposed to have been given the money before Ivmade the film. This I was informed after having worked a full month on the project. I did sign it and I take full responsibility for that sign because you were the carrot dangled to me, the one ruling the roost in the film festival circuit and of course the Indian public funding circuit, what seemed like the only way to make one’s film. And since you must have been paid handsomely to be the carrot, I only ask that you own up to the full responsibility of it and be accountable to the carrot desirers you create.

After insisting that I get paid at least half I went ahead, after funds were released, and borrowed money to complete it. I hand over the film and fulfil my contractual obligations and then am bullied into changing and reshooting it for a mistake made by Asmit Pathare (Project director not the 12th discovery – check the shortlist!) and Abhijit Das (the godfather of short films in the making). So I naturally said no. You must understand how difficult it is for a director to hurt their stories? It’s kind of like being okay with Abhijit Das (Creative head of Largeshortfilms) adding on a scene where Manoj Bajpai spouts Feminist Marxist dialogues in Gangs of Wasseypur and without telling you! Wouldn’t really fit with the ethos of the film no? Your company even told me that since I do not have the resources I cannot be involved in the reshoot. At such a juncture I asked you not to use my film if I was not being reimbursed and no, you go ahead and use it. The matchbox still from my film is still up on the company’s website.

In a country with absolutely zilch funding for independent films you exploit the hopes of thousands of aspirants. You reiterate a certain way of working which accommodates only a certain type of filmmaker. This in my world is called cheating, it’s called immoral and it’s called unfair. In your world all this is grey, this hijacking that you do of a space that has seen so much struggle and such amazing cinema, this hijacking of language – calling it collaborative when it’s more dictatorial, this hijacking of image, of new film waves, of new ways of working. One of the most exciting things about globalised capitalism’s current avatar (as Hardt and Negri will tell you) is that even though it creates systems like you it also provides for ruptures like me.

Before you come back with a reply to this I ask you to re‐look at emails that you sent me and words you relayed to me through the company about my filmmaking. Everything that I have said is backed by evidence (I know too well
how important that is) I know this open dissent will cost me. I’m not naïve not to understand as to how you rule visibilities around distribution and production but I will walk away knowing that I have spoken and that this is just the beginning not the end of the road for me. For those of you reading this I understand that within the larger framework of what we call injustice in this country this is nothing but when we start to look at continuums everything does matter and support for this would really help not just me but for all those who are engaged in changing the way images speak.

From the 12th director who so mysteriously disappeared
Shilpa Munikempanna
munikempannaproductions@gmail.com

contact- 9611843981

One Billion Rising # Mumbai- Feminist Film Festival @7dec-9dec #Vaw


 

Highlights from the mumbai edition of

 

OUR LIVES…TO LIVE

(NO!to gender violence

(films of courage, protest, hope)

 

7-9 Dec 2013

FD Zone Auditorium, 10th Floor, Films Division, 24 Dr G Deshmukh Marg (Peddar Rd), Mumbai-400026

 

 

Selections from WOMEN MAKE MOVIES (WMM) special package

 

Friday 7 Dec at 12.10 pm 

Sarabah (Maria Luisa Gambale, Gloria Bremer / USA-Senegal/ 60 min)

Rapper, singer and activist Sister Fa, a childhood victim of female genital cutting (FGC), travels back to her home village in Senegal, where she fears she and her message against the practice will be rejected. Yet she speaks out passionately to female elders and students alike, and stages a rousing concert that has the community on its feet.

 

Friday 7 Dec at 6.50 pm

Going Up the Stairs: Portrait of an Unlikely Iranian Artist (Rokhsareh Ghaem Maghami / Iran/ 51 min)

When Akram, an illiterate 50-year-old Iranian woman, became a painter unexpectedly, she hid her work from possibly disapproving eyes. Now her children have arranged an exhibition in Paris, but she must obtain permission from her husband in order to attend.

 

Saturday 8 Dec at 4.10 pm

God Sleeps in Rwanda (Kimberlee Acquaro, Stacy Sherman/ Rwanda-USA/ 29 min) ACADEMY AWARD NOMINATION

Heart-wrenching and inspiring, this powerful film is a reminder of the brutal consequences of the Rwandan genocide, and a tribute to the strength and spirit of the women who are moving forth.

 

Saturday 8 Dec at 8 pm

Scarlet Road (Catherine Scott/ Australia/ 70 min)

Sex worker Rachel Wotton specializes in a long overlooked clientele – people with disabilities. Working in New South Wales, where prostitution is legal, her philosophy is that human touch and sexual intimacy can be the most therapeutic aspects to our existence. She fights both for the rights of sex workers and for access to sexual expression for the disabled through sex work, bringing together these two marginalized groups.

 

Sunday 9 Dec at 6 pm

Orchids: My Intersex Adventure (Phoebe Hart/ Australia/ 57 min)

Phoebe Hart knew she was different growing up – but she didn’t know why. This award-winning documentary traces Phoebe’s voyage of self-discovery as an intersex person, as she embarks on a road trip with her sister to meet other intersex people and hear their stories.

CONTEMPORARY CLASSICS FROM SOUTH ASIA

 

Friday 7 Dec at 8.05 pm

The Sari Soldiers (Julie Bridgham/ USA-Nepal/ 92 min)

An extraordinary story of six women’s courageous efforts to shape Nepal’s future in the midst of an escalating civil war against Maoist insurgents, and the King’s crackdown on civil liberties.

 

Sunday 9 Dec at 11.50 am

How Green Was Our Valley (Fereshteh Joghataei/ Iran/ 32 min)

A dam has been built and the water is rising. 63 villages will be flooded and the residents must be uprooted. People wait for a miracle at a holy shrine.

 

 

 

Sunday 9 Dec at 2.15 pm

Something Like a War (Deepa Dhanraj/ India/ 52 min)

This celebrated documentary traces the history of the family planning program and exposes the cynicism, corruption and brutality which characterizes its implementation.

 

 

from SPECIAL FOCUS ON WOMEN & PUBLIC SPACES

 

Friday 7 Dec at 4.30 pm

My Letter to Pippa (Bingöl Elmas/ Turkey-France/ 60 min)In 2008, Pippa Bacca embarked on a hitch-hiking expedition

from Rome to the Middle East to promote world peace. She disappeared outside Istanbul. Her raped body was

later recovered. In this road documentary, Kurdish director Bingöl Elmas undertakes to continue the journey.

 

INDIA PREMIERES AT THIS FESTIVAL, ALSO SHOWING IN MUMBAI

 

Gulabi Gang (Nishtha Jain/ India- Norway- Denmark/ 107 min) (India premiere was at the Delhi edition of this festival on 25 Nov; screened in Mumbai at the launch on Wednesday 28 Nov)

In Bundelkhand, the pink sari-clad women of Gulabi Gang travel long distances by tractor and train to wrest justice for women and Dalits, undeterred by sneering policemen and condescending bureaucrats. They encounter resistance everywhere, as whole villages connive in protecting the perpetrators of violence.

 

Sunday 9 Dec at 3.10 pm

Can We See the Baby Bump Please? (Surabhi Sharma/ India/ 49 min) (India premiere was at the Delhi edition of this festival on 23 Nov)

The global reach of medical tourism and commercial surrogacy has spawned a range of clinics and practices across big cities and small towns in India. The film meets with surrogates, doctors, law firms,agents, and families in an attempt to understand the context of surrogacy in India.

 

INDIA PREMIERE IN MUMBAI

 

Sunday 9 Dec at 7.45 pm

FACING MIRRORS (Negar Azarbayjani/ Iran/ 102 min) CLOSING FILM

With her husband in prison, Rana drives a taxi to support herself and her young son. During a journey                            to drop Adineh far outside Tehran, Rana makes a discovery that horrifies her. A story of prejudice, friendship                             and redemption.

 

OTHER MUMBAI PREMIERES

 

Friday 7 Dec at 11.15 am

A Day in the Life of Rahela (Dil Afruz Zeerak/ Afghanistan/ 27 min)

PART OF AN AFGHAN PACKAGE AT OUR LIVES…TO LIVE

13-year-old Rahela lives on one of the steep hillsides in Kabul. Every day she hauls up canisters of water from the plains to help support her family and pay for her schooling.

 

Saturday 8 Dec at 11.15 am

Fragments of a Past (Uma Chakravarti/ India/ 54 min) ACADEMIC-TURNED FILMMAKER WITH A MEMORABLE FILM

The ephemeral nature of memory and the importance of keeping alive our histories are both underlined in this film essay as it retraces the political journey of activist and writer Mythili Sivaraman.

 

Saturday 8 Dec at 12.45 pm

Conversations For The Dark Side Of The Moon: Two Sisters & Shilpi (Putul Mahmood/ India/ 20 min)

INTERVIEWS THAT QUESTION OUR ASSUMPTIONS ABOUT MENTAL ILLNESS

A dialogue with two sisters who are inmates of the Lumbini Park Mental Hospital in Kolkata; a conversation with Shilpi about her unnerving experiences with psychiatrists.

 

 

 

Saturday 8 Dec at 3.35 pm

Kusum (Shumona Banerjee/ India/ 11 min)

SHORT FICTION BY AN SRFTI STUDENT THAT IS ALREADY A RUNAWAY SUCCESS

Transvestite sex worker Kusum gears up for a regular night. Enter Purab, a troubled English literature teacher who speaks no Bengali. All hell breaks loose as the two struggle to negotiate the night in each other’s presence.

 

Saturday 8 Dec at 5.55 pm

Invoking Justice (Deepa Dhanraj/ India/ 86 min)

ACCOMPLISHED FILMMAKER’S RECENT FILM, MUCH-AWAITED IN MUMBAI

In Tamil Nadu, family disputes are settled by all-male Jamaats which function without allowing women to be present. A group of women have established a women’s Jamaat, which works to reform a system that allows men to take refuge in the most extreme interpretations of the Qur’an to justify violence towards women.

MORE FILMS BY WELL-KNOWN FILMMAKERS FROM INDIA

 

Friday 7 Dec at 2.35 pm

The Ghetto Girl (Ambarien Alqadar/ 37 min)

In what is also known as India’s “Little Pakistan” in New Delhi, a girl searches for a lost home movie. The search takes her into the mapless lanes of the place she calls home.

 

Friday 7 Dec at 5.50 pm

Beyond the Wheel (Rajula Shah/ 59 min)

The film takes a look at three women in Indian pottery, across rural-urban and modern-traditional divides, with reference to the taboo of the wheel.

 

Saturday 8 Dec at 2.30 pm

Shit (Amudhan RP/ 25 min)

A street in Madurai, Tamil Nadu. A woman who sweeps up all the shit. Her name is Mariammal and she does this every day of her life. The film raises critical questions about caste, working conditions, the indifference of the Municipal Corporation, and people’s lack of civic sense.

 

Sunday 9 Dec at 11.00 am

Goddesses (Leena Manimekalai/ 43 min)

Three ordinary women who live extraordinary lives, surviving the darkest of times by going against society’s norms to live and work according to the rules they have set for themselves.

 

 

…MANY MORE FILMS AND THOUGHT-PROVOKING PANELS AND DISCUSSIONS ON THE MULTIPLE SITES AND FORMS OF GENDER-BASED VIOLENCE 

 

Attn Minnesota- ‘ Jai Bhim Comrade Screening” @Oct 16,2012 #mustshare


Carleton to Present Celebrated Indian Filmmaker Anand Patwardhan and Rare Screening of his Documentary Film, ‘Jai Bhim Comrade’

October 5, 2012

Noted and celebrated Indian documentary filmmaker Anand Patwardhan will host a discussion and screening of his groundbreaking film, “Jai Bhim Comrade: The atrocity of caste, a tradition of reason, a song that will be sung,” at the Carleton College Weitz Center for Creativity Cinema on Tuesday, Oct. 16 at 6 p.m. This rare appearance is one of only two screenings of the film in Minnesota. Patwardhan’s films document injustice in an attempt to spark dialogue and social change; “Jai Bhim Comrade” provides a harrowing look at the persistent suffering of the “untouchable” caste in Indian society despite attempts to end discrimination. This event, which is free and open to the public, begins with a discussion and reception with Patwardhan at 6 p.m., followed by the screening of the film at 7 p.m.

“Jai Bhim Comrade,” which took Patwardhan 14 years to complete, offers an examination of how Dalits, also known as untouchables (the lowest caste in the traditional Hindu system), are still mistreated by many Indians and Indian politicians, despite the presence of laws meant to protect them. Patwardhan uses the massacre of Dalits by Mumbai police at a demonstration in 1997, which was followed by the public suicide of the subject of an earlier Patwardhan film, “Bombay My City,” as a means of exploring the history of discrimination toward Dalits. Patwardhan also documents the ongoing struggle between those who look down on the Dalits and those who have promoted reason and social justice through the centuries. Despite numerous antidiscrimination laws, which are widely perceived as greatly improving the condition of Dalits (India elected its first Dalit president, K.R. Narayanan, in 1997), Patwardhan shows audiences that the Dalits’ troubles are far from over. “Jai Bhim Comrade” has been widely screened throughout Maharashtra, the state where it is set, in an effort to reach the people whose lives it chronicles. The film was honored with a Best Film Awards at Films South Asia (a festival in Kathmandu, Nepal) and at the Mumbai International Film Festival, and has been honored by National Awards India and the Hong Kong International Film Festival.

Called “the foremost Indian documentary maker of his generation,” Patwardhan’s films expose the darker side of life in modern-day India. He claims to have become interested in political activism through participating in protest activity against the Vietnam War while a student at Brandeis University in Massachusetts. “Jai Bhim Comrade” is the first Patwardhan film to be approved by Indian film censors without any cuts; much of his previous work had been cleared for release only after legal battles. His first film, “Waves of Revolution” (1971), focused on the government’s repression of student activists in Bihar, and since then he has made films emphasizing political issues. Many of his films have been honored at film festivals worldwide. “War and Peace” (2002), Patwardhan’s last film before “Jai Bhim Comrade,” focuses on the development of nuclear arms by India and Pakistan; it won a National Film Award in India and was honored by the Karachi International Film Festival, the Sydney Film Festival, the Mumbai International Film Festival and the Earth Vision Film Festival.

This special appearance and screening at Carleton honors the work of Eleanor Zelliot, Laird Bell Professor of History Emerita, whose acclaimed work on India spanned a broad range of topics and centuries. Her commitment to documenting the poetics, piety and politics of Dalits, relegated to the margins and whose histories and voices have often been forgotten, were the focus of her academic writing and teaching.

This event is sponsored by the Department of Asian Studies, the Department of Religion, the Department of History, the Department of Cinema and Media Studies, and the Zelliot Endowment for South Asian Art and Culture. For more information about this event, including disability accommodations, contact Sandy Saari at (507) 222-4232. The Weitz Center for Creativity is located at 320 North Third Street in Northfield; enter at the corner of Third and College Streets.

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