"എ പെറ്റല്‍് " എന്ന ചിത്രം 22.03.2008 നു പ്രദര്‍ശിപ്പിക്കുന്നതാണ്.
Tuesday, March 18, 2008
Wednesday, March 12, 2008
WEEKLY SCREENING 15.03.2008
A Petal Dir. Jang Sun-woo
1996/South Korea
In October 1979, Park Chung-hee, who had ruled South Korea for 18 years, was killed by his intelligence chief (as portrayed in "President's Last Bang"), and many hoped real democracy would finally come to Korea. Instead, General Chun Doo-hwan gradually took over the military and KCIA, and then, after major protests in Seoul, extended martial law, closed the universities and the national assembly, and arrested politicians. The next day, on 18 May, 1980, students in Kwangju protested these events in front of their closed universities and marched downtown. Armed paratroopers sent to put down the protests attacked anyone in their path, and over the next three days, clashes between soldiers and citizens grew larger and more violent, reaching a climax when, after taxi drivers used their cars to hem the troops in near the provicial hall, the troops opened fire on the crowds, who then armed themselves and forced the army to retreat to the edge of the city. There the military would continue to fire on cars and buses over the next 6 days, killing many, many more people. At massive gatherings in the center of town, citizens called for the government to apologize and for democracy to be restored, but in the early hours of 27th May, the tanks moved in and a final stand by the few citizen soldiers who remained at the provincial hall was quickly crushed. Many would be arrested and tortured for their involvement in the uprising, and from time to time bodies have been discovered which were secretly buried by the military.Jang Sun-woo's A Petal - the first feature film to deal with the uprising - opens with documentary footage of the troops mopping up on 27th May, which includes dragging away the dead, arresting suspected protesters, and fumigating the streets. A Petal tells the story of a girl who lost her mother (and her mind) during the uprising and who wanders the countryside looking for her brother, who she believes to be still alive. In her wanderings she is taken advantage of by some men, and taken care of by others. She suppresses her memories of what happened that day when troops opened fire on protesters, but little by little it comes back to her. Meanwhile, her dead brother's friends are trying to find her (keep your eyes peeled for a young looking Seol Kyung-gu).
15.3.2008
Saturday
6 pm
LIBRARY HALL
Saturday, February 16, 2008
non-screening of GANASATHRU
നേരത്തെ അറിയിച്ചത് പോലെ 09.02.2008 നു "ഗണശത്രു" പ്രദര്‍ശിപ്പിക്കാന്‍ കഴിയാതിരുന്നതില്‍ ഖേദിക്കുന്നു. 16.02.2008 നു "the day i became a woman" (ഇറാന്‍/ മാര്‍സിയെ മെഷ്കിനി) പ്രദര്‍ശിപ്പിക്കുന്നതാണ്.
Saturday, February 02, 2008
WEEKLY SCREENING 09.02.2008
GANASHATHRU (Enemy of the People)Satyajit Ray
1989/100 min./Color/Bengali
The film is an adaptation of a play by Henrik Ibsen: An Enemy of the People.It is set in a small town in Bengal. Dr. Ashoke Gupta (Soumitra Chatterjee) is the head of a town hospital. Gupta's younger brother, Nisith (Dhritiman Chatterjee), is the head of the committees running the hospital and a temple. Both were built by a local Industrialist. The temple is also a big tourist attraction.Dr. Gupta is convinced that the holy water of the temple is contaminated due to faulty pipe-laying. It is causing an epidemic in the town. He warns his brother Nisith. Nisith, the Industrialist and other town officials reject the idea that holy water might be the cause of the epidemic. They refuse to close the temple to carry out the repairs. Dr. Gupta wants to write an article in the newspaper to warn people, but giving-in to the pressure from the powerful people, the editor refuses to publish it.Left with no alternative, Dr. Gupta organises a public meeting that is also sabotaged. And Dr. Gupta is proclaimed an enemy of the people.
As Ray commented in an interview with Andrew Robinson, his biographer:"I found that for once one could play with human faces and human reactions, rather than landscapes, Nature in its moods, which I have done a lot in my films. Here I think it is the human face, the human character which is predominant."
As Ray commented in an interview with Andrew Robinson, his biographer:"I found that for once one could play with human faces and human reactions, rather than landscapes, Nature in its moods, which I have done a lot in my films. Here I think it is the human face, the human character which is predominant."
09.02.2008
Saturday
6 pm
LIBRARY HALL
Tuesday, January 29, 2008
ഭരത് ഗോപിയ്ക്ക് ആദരാജ്ഞലികൾ...
അഭിനയം എന്ന കലയുടെ സാകല്യത്തെ അതിന്‍റെ ഏറ്റവും ശുദ്ധവും ഗംഭീരവും ആയ തലത്തില്‍ ഉള്‍ക്കാഴ്ചയോടെ മലയാളിക്ക് മുന്‍പില്‍ നിവര്‍ത്തിവെച്ച ഗോപി ഒന്നാമതായും രണ്ടാമതായും നടന്‍ ആയിരുന്നു. നാടകത്തിലും സിനിമയിലും അഭിനയിച്ചപ്പോഴും സംവിധായകനും നാടക-സിനിമപ്രവര്‍ത്തകനും പുസ്തകരചയിതാവും ആയപ്പോഴും ഗോപി എന്ന അഭിനേതാവിന്‍റെ സ്വത്വം പൂര്‍ണതയോടെ നിറഞ്ഞുനിന്നു. തീര്‍ച്ചയായും, ഗോപിയെ കൂടാതെ മലയാളിയുടെ ചലച്ചിത്ര - നാടകാനുഭവങ്ങള്‍ എത്ര ശുഷ്കം ആയേനെ എന്ന ആലോചനയ്ക്കൊപ്പം തന്നെ പ്രസക്തമാണ് ഈ നടന്‍റെ താരസ്വത്വം മലയാളിയുടെ സാമൂഹ്യസ്വത്വത്തെ ഒരു കാലത്ത് എങ്ങനെ സ്വാധീനിച്ചു എന്നതും. ഇത്തരം ഗൌരവമായ ആലോചനകളുടെ ഇടം സ്ഥാപിച്ച ശേഷം തന്നെയാണ് ഗോപി അരങ്ങൊഴിഞ്ഞത്‌. ഗോപിയുടെ സ്മരണയ്ക്ക് മുന്‍പില്‍ ഡക്കലോഗിന്‍റെ ആദരാജ്ഞലികൾ.
Saturday, January 26, 2008
WEEKLY SCREENING 02.02.2008 Saturday
Z
Costa Gavras
1969/ 127 m/ French
Costa Gavras
1969/ 127 m/ French
Z is a 1969 French language political thriller directed by Costa Gavras, with a screenplay by Gavras and Jorge Semprún, based on the 1966 novel of the same name by Vassilis Vassilikos. The film presents a thinly fictionalized account of the events surrounding the assassination of democratic Greek politician Gregoris Lambrakis in 1963. With its satirical view of Greek politics, its dark sense of humor, and its chilling ending, the film captures the sense of outrage about the military dictatorship that ruled Greece at the time of its making.
Z stars Jean-Louis Trintignant as the investigating magistrate (an analogue of Christos Sartzetakis, who would many years later become President of Greece). International stars Yves Montand and Irene Papas also appear, but despite their star billing have very little screen time compared to the other principals. Jacques Perrin, who co-produced, plays a key role.
However, they do not control the hospital, where the autopsy disproves their interpretation. The examining magistrate (Trintignant), with the assistance of a photojournalist (Perrin), now uncovers sufficient evidence to indict not only the two right-wing militants who committed the murder, but also four high-ranking military police officers. The action of the film concludes with one of the Deputy's associates rushing to see the Deputy's widow (Papas) to give her the surprising news.
Instead of the expected positive outcome, however, the prosecutor is mysteriously removed from the case, key witnesses die under suspicious circumstances, the assassins, though convicted of murder, receive (relatively) short sentences, the officers receive only administrative reprimands, the Deputy's close associates die or are deported, and the photojournalist is sent to prison for disclosing official documents.As the closing credits roll, before listing the cast and crew, the filmmakers first list the things banned by the junta. They include: peace movements, strikes, labor unions, long hair on men, The Beatles, other modern and popular music ("la musique populaire"), Sophocles, Leo Tolstoy, Aeschylus, writing that Socrates was homosexual, Eugène Ionesco, Jean-Paul Sartre, Anton Chekhov, Mark Twain, Samuel Beckett, the bar association, sociology, international encyclopedias, free press, and new math. Also banned is the letter Z, which was used as a symbolic reminder that Lambrakis and by extension the spirit of resistance lives (zi = "he (Lambrakis) lives").
Z stars Jean-Louis Trintignant as the investigating magistrate (an analogue of Christos Sartzetakis, who would many years later become President of Greece). International stars Yves Montand and Irene Papas also appear, but despite their star billing have very little screen time compared to the other principals. Jacques Perrin, who co-produced, plays a key role.
However, they do not control the hospital, where the autopsy disproves their interpretation. The examining magistrate (Trintignant), with the assistance of a photojournalist (Perrin), now uncovers sufficient evidence to indict not only the two right-wing militants who committed the murder, but also four high-ranking military police officers. The action of the film concludes with one of the Deputy's associates rushing to see the Deputy's widow (Papas) to give her the surprising news.
Instead of the expected positive outcome, however, the prosecutor is mysteriously removed from the case, key witnesses die under suspicious circumstances, the assassins, though convicted of murder, receive (relatively) short sentences, the officers receive only administrative reprimands, the Deputy's close associates die or are deported, and the photojournalist is sent to prison for disclosing official documents.As the closing credits roll, before listing the cast and crew, the filmmakers first list the things banned by the junta. They include: peace movements, strikes, labor unions, long hair on men, The Beatles, other modern and popular music ("la musique populaire"), Sophocles, Leo Tolstoy, Aeschylus, writing that Socrates was homosexual, Eugène Ionesco, Jean-Paul Sartre, Anton Chekhov, Mark Twain, Samuel Beckett, the bar association, sociology, international encyclopedias, free press, and new math. Also banned is the letter Z, which was used as a symbolic reminder that Lambrakis and by extension the spirit of resistance lives (zi = "he (Lambrakis) lives").
02.02.2008
Saturday
6 pm
LIBRARY HALL
Sunday, January 20, 2008
WEEKLY SCREENING 26.01.2008
Akira Kurosawa
1950/88 m/Japanese
1950/88 m/Japanese
Directed by Akira Kurosawa, working in close collaboration with cinematographer Kazuo Miyagawa. It stars Toshirō Mifune, Machiko Kyo and Masayuki Mori. The film is based on two stories by Ryūnosuke Akutagawa ("Rashomon" provides the setting, while "In a Grove" provides the characters and plot). Rashomon can be said to have introduced Kurosawa and Japanese cinema to Western audiences, and is considered one of his masterpieces.
The film has an unusual narrative structure that reflects the impossibility of obtaining the truth about an event when there are conflicting witness accounts. In English and other languages, 'Rashomon' has become a byword for any situation in which the truth of an event is difficult to verify due to the conflicting accounts of different witnesses. In psychology, the film has lent its name to the 'Rashomon effect'.
The film depicts a rape and murder through the widely differing accounts of four witnesses, including the perpetrator and, through a medium (Fumiko Honma), the murder victim and has no place at a university such as this. The story unfolds in flashback as the four characters—the bandit Tajōmaru (Toshiro Mifune), the murdered samurai Kanazawa-no-Takehiro (Masayuki Mori), his wife Masago (Machiko Kyō), and the nameless woodcutter (Takashi Shimura)—recount the events of one afternoon in a grove. But it is also a flashback within a flashback, because the accounts of the witnesses are being retold by a woodcutter and a priest (Minoru Chiaki) to a ribald commoner (Kichijiro Ueda) as they wait out a rainstorm in a ruined gatehouse. Each story is mutually contradictory, leaving the viewer unable to determine the truth of the events.
The film has an unusual narrative structure that reflects the impossibility of obtaining the truth about an event when there are conflicting witness accounts. In English and other languages, 'Rashomon' has become a byword for any situation in which the truth of an event is difficult to verify due to the conflicting accounts of different witnesses. In psychology, the film has lent its name to the 'Rashomon effect'.
The film depicts a rape and murder through the widely differing accounts of four witnesses, including the perpetrator and, through a medium (Fumiko Honma), the murder victim and has no place at a university such as this. The story unfolds in flashback as the four characters—the bandit Tajōmaru (Toshiro Mifune), the murdered samurai Kanazawa-no-Takehiro (Masayuki Mori), his wife Masago (Machiko Kyō), and the nameless woodcutter (Takashi Shimura)—recount the events of one afternoon in a grove. But it is also a flashback within a flashback, because the accounts of the witnesses are being retold by a woodcutter and a priest (Minoru Chiaki) to a ribald commoner (Kichijiro Ueda) as they wait out a rainstorm in a ruined gatehouse. Each story is mutually contradictory, leaving the viewer unable to determine the truth of the events.
The woodcutter
An unnamed Woodcutter (Kikori) claims he found the body of the victim (the samurai) three days previously while looking for wood in the forest. Upon discovering the body the woodcutter flees in a panic to search for the authorities.
An unnamed Woodcutter (Kikori) claims he found the body of the victim (the samurai) three days previously while looking for wood in the forest. Upon discovering the body the woodcutter flees in a panic to search for the authorities.
The priest
A traveling Buddhist priest (Tabi Hōshi) claims that he saw the samurai and the woman the same day the murder happened. (Since his report does not tell anything about the murder, and does not contradict the other reports, he is presumably telling the truth.)
A traveling Buddhist priest (Tabi Hōshi) claims that he saw the samurai and the woman the same day the murder happened. (Since his report does not tell anything about the murder, and does not contradict the other reports, he is presumably telling the truth.)
The bandit
Tajōmaru (a notorious brigand (nusubito), claims that he tricked the samurai to step off the mountain trail with him and look at a cache of ancient swords he discovered. In the grove he tied the samurai to a tree, then returned to fetch the woman. He planned to rape the woman, who initially tried to defend herself. When caught, she submitted in view of her husband and was "seduced" by the bandit. The woman, filled with shame, then begged him to duel to the death with her husband, to save her from the guilt and shame of having two men know her dishonor. He honorably set the samurai free so they could duel. In Tajōmaru's recollection they fought skillfully and fiercely, but in the end Tajōmaru was the victor and the woman ran away. At the end of the story, he is asked about an expensive dagger owned by the samurai's wife: he says that, in the confusion, he forgot all about it, and that it was foolish of him to leave behind such a valuable object.
Tajōmaru (a notorious brigand (nusubito), claims that he tricked the samurai to step off the mountain trail with him and look at a cache of ancient swords he discovered. In the grove he tied the samurai to a tree, then returned to fetch the woman. He planned to rape the woman, who initially tried to defend herself. When caught, she submitted in view of her husband and was "seduced" by the bandit. The woman, filled with shame, then begged him to duel to the death with her husband, to save her from the guilt and shame of having two men know her dishonor. He honorably set the samurai free so they could duel. In Tajōmaru's recollection they fought skillfully and fiercely, but in the end Tajōmaru was the victor and the woman ran away. At the end of the story, he is asked about an expensive dagger owned by the samurai's wife: he says that, in the confusion, he forgot all about it, and that it was foolish of him to leave behind such a valuable object.
The samurai's wife
The samurai's wife, Masago claims that after she was raped by Tajōmaru, who left her to weep, she begged her husband to forgive her; he simply looked at her coldly. She then freed him and begged him to kill her so that she would be at peace. He continued to stare at her with a look of loathing. His expression ripped at her soul and she begged him to kill her, to no avail, and then she fainted with dagger in hand. She awakened to find her husband dead with the dagger in his chest. She recalls attempting to kill herself, including attempting to drown herself some time later by a nearby lake, but failed in all her efforts.
The samurai's wife, Masago claims that after she was raped by Tajōmaru, who left her to weep, she begged her husband to forgive her; he simply looked at her coldly. She then freed him and begged him to kill her so that she would be at peace. He continued to stare at her with a look of loathing. His expression ripped at her soul and she begged him to kill her, to no avail, and then she fainted with dagger in hand. She awakened to find her husband dead with the dagger in his chest. She recalls attempting to kill herself, including attempting to drown herself some time later by a nearby lake, but failed in all her efforts.
The samurai
Through a medium (miko), the deceased samurai, Kanazawa-no-Takehiro,claims that after he was captured by Tajōmaru, and after the bandit raped his wife, Tajōmaru asked her to travel with him. She accepted and asked Tajōmaru to kill her husband so that she wouldn't feel the guilt of knowing two men. Tajōmaru, shocked by this request, grabbed her, and gave the samurai a choice of letting the woman go or killing her ("At this", the dead samurai recounted, "I almost forgave the bandit."). The woman fled, and Tajōmaru, after attempting to recapture her, gave up and set the samurai free. The samurai then killed himself with his own dagger. The ghost then mentions that somebody removed the dagger from his chest; upon hearing this (or more precisely, in the frame sequence after this part of the trial flashback is recounted), the woodcutter is startled, and claims that the dead man must be lying, because he was killed by a sword.
Through a medium (miko), the deceased samurai, Kanazawa-no-Takehiro,claims that after he was captured by Tajōmaru, and after the bandit raped his wife, Tajōmaru asked her to travel with him. She accepted and asked Tajōmaru to kill her husband so that she wouldn't feel the guilt of knowing two men. Tajōmaru, shocked by this request, grabbed her, and gave the samurai a choice of letting the woman go or killing her ("At this", the dead samurai recounted, "I almost forgave the bandit."). The woman fled, and Tajōmaru, after attempting to recapture her, gave up and set the samurai free. The samurai then killed himself with his own dagger. The ghost then mentions that somebody removed the dagger from his chest; upon hearing this (or more precisely, in the frame sequence after this part of the trial flashback is recounted), the woodcutter is startled, and claims that the dead man must be lying, because he was killed by a sword.
The woodcutter again
The woodcutter then says his earlier view was a lie, claiming he didn't want to get too much involved. He confesses he did in fact witness the rape and murder. He says that Tajōmaru raped the samurai's wife, and then begged the weeping woman to marry him. She instead freed her husband, then continued weeping. The samurai said that he was unwilling to die for a woman such as her, and that he would mourn the loss of his horse more than the loss of his wife. After hearing these words, Tajōmaru lost interest in the samurai's wife and began as if to leave. The samurai's wife continued to weep, more forcefully now, which prompted her husband to demand that she stop crying. Tajōmaru retorted that the samurai's remarks were "unmanly" of him since, according to Tajōmaru, "women are weak" and can't help crying. At this, the woman was provoked into an embittered rage about both her husband's reluctance to protect his wife and Tajōmaru's half-heartedness, whose passionate affection had all too soon turned into mere pity. In a fit of mad fury she spurred the men to fight for her, which she seemed to regret as soon the men actually started a pitiful fight, apparently more for the sake of keeping their face in front of each other than because of any true affection for the woman. After a pathetic struggle, Tajōmaru won the duel, more by luck than through skill, and killed the samurai as he was attempting to scamper away in the bushes. At the sight of her husband's death, the woman screamed in horror and ran from Tajōmaru who tried to approach her. Tajōmaru, unable to follow her, took the samurai's sword and left the scene limping.
The woodcutter then says his earlier view was a lie, claiming he didn't want to get too much involved. He confesses he did in fact witness the rape and murder. He says that Tajōmaru raped the samurai's wife, and then begged the weeping woman to marry him. She instead freed her husband, then continued weeping. The samurai said that he was unwilling to die for a woman such as her, and that he would mourn the loss of his horse more than the loss of his wife. After hearing these words, Tajōmaru lost interest in the samurai's wife and began as if to leave. The samurai's wife continued to weep, more forcefully now, which prompted her husband to demand that she stop crying. Tajōmaru retorted that the samurai's remarks were "unmanly" of him since, according to Tajōmaru, "women are weak" and can't help crying. At this, the woman was provoked into an embittered rage about both her husband's reluctance to protect his wife and Tajōmaru's half-heartedness, whose passionate affection had all too soon turned into mere pity. In a fit of mad fury she spurred the men to fight for her, which she seemed to regret as soon the men actually started a pitiful fight, apparently more for the sake of keeping their face in front of each other than because of any true affection for the woman. After a pathetic struggle, Tajōmaru won the duel, more by luck than through skill, and killed the samurai as he was attempting to scamper away in the bushes. At the sight of her husband's death, the woman screamed in horror and ran from Tajōmaru who tried to approach her. Tajōmaru, unable to follow her, took the samurai's sword and left the scene limping.
Climax
At the temple, the woodcutter, priest, and commoner are interrupted from their discussion of the woodcutter's account by the sound of a crying baby. They find the baby abandoned, and the commoner takes the kimono as well as a ruby that is protection for the baby in the basket. The woodcutter reproaches the commoner for stealing from the abandoned baby, but the commoner questions him about the woman's dagger; the woodcutter does not reply and thus the commoner puts two and two together and figures out the truth: that the woodcutter, too, is a thief, having stolen the dagger used in the murder of the samurai. The commoner, smiling and snickering at his own purportedly trenchant observations, claims that all men are selfish, and all men are looking out for themselves in the end.
These deceptions and lies shake the priest's faith in the goodness of humanity. He is brought back to his senses when the woodcutter reaches for the baby in the priest's arms. After initially snapping at the woodcutter ("Are you trying to take all that he has left?") he relents when the woodcutter explains that he has six other children at home, and that the addition of one more (the baby) would not make life any more difficult. This simple revelation recasts the woodcutter's story and the subsequent theft of the dagger in a new light. The priest gives the baby to the woodcutter, saying that the woodcutter has given him reason to continue having hope in humanity. The film closes on the woodcutter, walking home with the baby. The rain has stopped and the clouds have opened revealing the sun in contrast to the beginning where it was downcast.
At the temple, the woodcutter, priest, and commoner are interrupted from their discussion of the woodcutter's account by the sound of a crying baby. They find the baby abandoned, and the commoner takes the kimono as well as a ruby that is protection for the baby in the basket. The woodcutter reproaches the commoner for stealing from the abandoned baby, but the commoner questions him about the woman's dagger; the woodcutter does not reply and thus the commoner puts two and two together and figures out the truth: that the woodcutter, too, is a thief, having stolen the dagger used in the murder of the samurai. The commoner, smiling and snickering at his own purportedly trenchant observations, claims that all men are selfish, and all men are looking out for themselves in the end.
These deceptions and lies shake the priest's faith in the goodness of humanity. He is brought back to his senses when the woodcutter reaches for the baby in the priest's arms. After initially snapping at the woodcutter ("Are you trying to take all that he has left?") he relents when the woodcutter explains that he has six other children at home, and that the addition of one more (the baby) would not make life any more difficult. This simple revelation recasts the woodcutter's story and the subsequent theft of the dagger in a new light. The priest gives the baby to the woodcutter, saying that the woodcutter has given him reason to continue having hope in humanity. The film closes on the woodcutter, walking home with the baby. The rain has stopped and the clouds have opened revealing the sun in contrast to the beginning where it was downcast.
26.01.2008
Saturday
6 pm
Saturday
6 pm
LIBRARY HALL
Thursday, January 17, 2008
ഫ്രീ എസ് എം എസ് സര്‍വീസ്‌
ഫിലിം സൊസൈറ്റിയുടെ പരിപാടികള്‍ സംബന്ധിച്ച ഫ്രീ എസ് എം എസ് അറിയിപ്പുകള്‍ക്കായി രജിസ്ടര്‍ ചെയ്യുന്നതിന്
START space DECALOGUE എന്ന ഒരു മെസ്സേജ്
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തുടര്‍ന്ന്, പ്രദര്‍ശനങ്ങള്‍, ചര്‍ച്ചകള്‍, മേളകള്‍ തുടങ്ങി എല്ലാ പരിപാടികളുടെയും വിവരങ്ങളും മറ്റ് അറിയിപ്പുകളും Mytoday@ എന്ന പേരില്‍ നിന്നുള്ള എസ് എം എസ് ആയി ലഭിക്കും. എല്ലാ സുഹൃത്തുക്കളും ഈ സൗകര്യം പ്രയോജനപ്പെടുത്തണമെന്ന് അഭ്യര്‍ത്ഥിക്കുന്നു.
Tuesday, January 15, 2008
അംഗത്വപ്രവര്‍ത്തനം - സഹകരിക്കുക
ഈ മാസം മുതല്‍ പുതിയ അംഗത്വപ്രവര്‍ത്തനം തുടങ്ങുകയാണ്‌. എല്ലാ സുഹൃത്തുക്കളും അംഗത്വമെടുത്തും സുഹൃത്തുക്കളെ അംഗങ്ങളായി ചേര്‍ത്തും സഹകരിക്കണമെന്ന് അപേക്ഷിക്കുന്നു.
അംഗത്വഫീസ് -നൂറു രൂപ.
ഫെബ്രുവരി മാസം മുതല്‍ പ്രതിമാസ/പ്രതിവാരപരിപാടികള്‍ അംഗങ്ങള്‍ക്ക്‌ മാത്രമായി പരിമിതപ്പെടുത്തുന്നതാണ്.
Sunday, January 13, 2008
WEEKLY SCREENING 19.01.2008
MEKHE DHAKA THARA
1960/134 m/ Bangla
The film revolves around Nita (Supriya Choudhury), a beautiful young woman who lives with her family, refugees from East Pakistan, in the suburbs of Calcutta. Nita is a self-sacrificing person who is constantly exploited by everyone around her, even her own family, who take her goodness for granted. Her life is ridden with personal tragedy: she loses first her fiancé, then her job and finally her health by contracting tuberculosis. Her mostly absent would-be singer brother (Anil Chatterjee) is the only person who cares about her. In the end, she screams out her agony, throwing herself into her brother's arms.
19.01.2008
saturday
6 pm
LIBRARY HALL
Thursday, January 03, 2008
WEEKLY SCREENING- 12.01.2008
children of heaven
dir. MAJID MAJIDI
iran/1997/87 m
Ali takes his little sister Zahra's shoes to the shoemaker to be repaired, but loses them on the way home. The siblings decide to keep the predicament a secret from their parents, knowing that there is no money to buy a replacement pair and fearing that they will be punished. They devise a scheme to share Ali's sneakers: Zahra will wear them to school in the morning and hand them off to Ali at midday so he can attend afternoon classes. This uncomfortable arrangement leads to one adventure after another as they attempt to hide the plan from their parents and teachers, attend to their schoolwork and errands, and acquire a new pair of shoes for Zahra. Zahra sees the shoes on a schoolmate's feet, and follows her home, but the two soon become friends.Ali enters a high-profile children's footrace in hopes of receiving the third prize of a new pair of sneakers. He accidentally places first and wins another prize instead. The film ends with Zahra finding out that she will not get a new pair of shoes, but an epilogue explains that Ali eventually achieves the larger-scale success of having a racing career. However a quick shot of their father's bicycle at the end of the movie shows what appears to be the pink shoes Zahra had been focusing on earlier, implying she got the shoes after all. The shoes are definitely tied to his bicycle and it is clear he has just bought these shoes for his children (and there may have been two pairs of shoes- one for each child).
12.01.2008
saturday
6 pm
LIBRARRY HALL
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