Included in Time’s “All-Time 100 Best Films”, and CNN-News18’s “100 greatest Indian films of all time, “Nayakan” was also a critical and commercial success, running for over 175 days in theaters. Based loosely on the life of the Bombay underworld don Varadarajan Mudaliar and the American film “The Godfather”, this is definitely among the best movies ever to come out of the Tamil movie industry.
Buy
Highlighting how his interactions with the police shaped him as a person, the movie begins with anti-government union leader’s only son Sakthivel “Velu” arrested by the police and beaten in order to reveal his father’s whereabouts. Eventually, they trick him into meeting his father, where the policemen kill him. Feeling betrayed, Sakthivel stabs the police inspector and runs away to Bombay, where he is raised by Hussain, a kind-hearted smuggler living in the Dharavi slums. Hussain instills his kind-heartedness to the boy along...
Buy
Highlighting how his interactions with the police shaped him as a person, the movie begins with anti-government union leader’s only son Sakthivel “Velu” arrested by the police and beaten in order to reveal his father’s whereabouts. Eventually, they trick him into meeting his father, where the policemen kill him. Feeling betrayed, Sakthivel stabs the police inspector and runs away to Bombay, where he is raised by Hussain, a kind-hearted smuggler living in the Dharavi slums. Hussain instills his kind-heartedness to the boy along...
- 4/10/2022
- by Panos Kotzathanasis
- AsianMoviePulse
ObituarySP Jananathan, who was known for films such as ‘Peranmai’ and ‘Iyarkai’ was earlier put on ventilator support after he was found unconscious. Tnm StaffNational Award winning director Sp Jananathan passed away on Sunday. The director was found unconscious at his residence and rushed to the hospital on Thursday. Sp Jananathan is known for films such as Peranmai and Iyarkai. According to reports, the director was editing a movie on Thursday afternoon when he headed home for lunch. When Jananathan did not return for a long time, his assistants rushed back to his residence to find him unconscious. Preliminary reports from doctors declared the director brain dead and he was put on ventilator support. His condition did not show any progress following which the doctors declared him dead. The director was working on Laabam starring Vijay Sethupathi and Shruti Haasan in the lead. This film was delayed due to the...
- 3/14/2021
- by Meghak
- The News Minute
After two seasons worth of magic, “Fargo” Season 3 — or Year 3, to use the preferred nomenclature — was finally unable to outrun the specter of Peak TV hovering over its shoulder. Even with one of the greatest TV casts ever assembled, the story of feuding brothers and a nefarious conglomerate slowed the series’ hot streak and brought it back down from the realm of tightly constructed, riveting crime drama into the realm of ordinary.
Wednesday night’s season finale showed why the rest of the previous episodes lacked the distinctive spirit that’s helped make “Fargo” into its own creative entity. The previous two seasons have funneled their experiences through the police officer Solversons at the center: Alison Tolman’s Molly and Patrick Wilson’s Lou both anchored their respective seasons amidst a maelstrom of criminal (and in notable instances, supernatural) activity.
Read More: Noah Hawley on the ‘Fargo’ Finale and Why the Fate of Gloria Burgle Matters More Than You Think
But with a near-unprecedented cast including Ewan McGregor, Carrie Coon, David Thewlis, Mary Elizabeth Winstead, Scoot McNairy, Mary McDonnell, Shea Wigham and Michael Stuhlbarg, “Fargo” had that unique but very real problem of juggling an ensemble of actors who were each carrying their own shows within their respective plot lines. Gloria Burgle’s pursuit, the existential quandary of loyalty from Sy, and the classic, biblical blood feud between the two Stussy brothers all seemed like they were vying for supremacy in a show that tried to have it every way.
With all that impressive output in front of the camera, the various adventures that these characters went on seemed too stylistically disparate to be part of a focused season of television. Take Episode 8, “Who Rules the Land of Denial?” as an example. It’s a striking hour of TV, but one that owed its visual and philosophical approach to some of the other biggest TV shows on air right now. Nikki’s kitten-filled encounter in the bowling alley dipped into “Twin Peaks” territory, complete with Ray Wise’s presence. The bloody escape from the prison bus into the woods was practically a dimly lit “Game of Thrones” set-piece, complete with a surprise garroting.
These scenes came in the wake of the overtly Don Hertzfeldt-ian animation sequence from Episode 3 and presaged a “Leftovers”-adjacent piano theme at the end of Episode 9 that would probably make Max Richter do a double take. “Fargo” has always worn its influences on it sleeve, often with an accompanying wink and nod. This season felt like the first time some of the most gorgeous images on TV were in service of a faithful recreation of what’s worked elsewhere, rather than a visionary reinterpretation.
A series that had previously managed to bring together a nuanced look at opposing forces of good and evil managed to play this season fairly straight. By Thewlis’ own admission, V.M. Varga is a character completely without any redeeming qualities. He’s an out-and-out villain from frame one, drab business attire and all. The closest that he comes to any kind of sympathy is his sniveling, tiptoeing towards the elevator after he’s found out he’s under attack in the season finale.
Varga’s two defining characteristics — his rotting teeth and propensity to vomit up his nervous binge eating — were far more literal manifestations of the evil rotting him from inside and out than the show ever burdened its predecessors with. Lorne Malvo and Mike Milligan, previous “Fargo” heavies, were more than just sophisticated bad guys. Their calm demeanor, without much affectation, hinted at the insidious nature of human corruptibility. By placing all its narrative weight on a character who showed so much outward, borderline-cartoonish villainy, Season 3 robbed its central conflict of comparable substance.
And as far as the victim of Varga’s plotting, Emmit Stussy never really moved beyond being a hapless victim, closer to the bumbling cycle of unfortunate circumstances of Jerry Lundegaard from the “Fargo” film than the poisonous, bitter edge that Martin Freeman added to Lester Nygaard. As a result, Ewan McGregor’s double casting never really had the opportunity to move beyond a half-baked treatise on the nature of free will.
One of the reasons “Fargo” succeeded in creating something all its own in preceding installments is that it guided its ambiguities towards a greater purpose. Season 3’s many allegories and literary allusions left little room for interpretation or subversion. Whether listening to Billy Bob Thornton explain the opening of “Peter and the Wolf,” Varga explain Lenin’s appreciation Beethoven, or a series of animated characters float through the Stussy-authored sci-fi universe, each of these came with a blatant, explicit connection to the characters we saw on the screen. In previous seasons, those conclusions would be left to the audience to draw.
The conversation between Gloria and Winnie in Season 3’s penultimate episode also helped to underline this idea. A mystery that our own Ben Travers pointed out fairly early on — Gloria’s invisibility to technology — was made more intriguing by the explanatory distance the show took from it. But in baring her soul to Winnie, there was Gloria expressing all of those concerns out loud in convenient, metaphorical detail. The old “Fargo” would have had her merely stare down the bathroom sink sensor before finally realizing that her circumstances had changed, taking out any references to it in the conversation that came before.
As one final parting confirmation, the show delivered its Season 3 version of a time jump; a transformation that seemed so radical in Season 1 but here seems like a tacked-on afterthought. That audience handholding became even more literal when, without leaving the audience to fill in the blanks, it put the aftermath of the Stussy fortune in direct on-screen text. You could argue that this is a playful, twisted diversion meant to make Emmit’s kitchen assassination all the more shocking. But instead it seemed like a final emphatic exclamation point on the season’s special brand of reinforced cynicism.
Read More: The Coen Brothers’ Rules: 4 Filmmaking Practices That Give ‘Fargo’ Its Cinematic Consistency
All told, this season of “Fargo” was far from without merit. As much as Sy was hamstrung for most of the season, Stuhlbarg still proved that he’s one of the greatest working actors and a worthy addition to the series’ roster of Coen Brothers alumni. The Ray Stussy apartment ambush sequence is one of the best-directed scenes of the year. And the finale’s Mexican standoff was delivered in such a simple and unadorned way that made its consequences all the more tragic.
But even in the artistry of showing the two bodies fall from far away, Nikki’s character farewell underlined how much this version of “Fargo” reveled in making each new development as definitive as possible. A bullet hole to the forehead leaves little room for doubt. “Fargo” is still one of TVs most visceral crime shows, but one thing it didn’t borrow from its fellow 2017 TV shows was to let the mystery be.
Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Related stories'Fargo' Review: Season 3 Finale Ends the Debate and Tells Us If We've Been Wasting Our BreathNoah Hawley on the 'Fargo' Finale and Why the Fate of Gloria Burgle Matters More Than You ThinkHow Editors of 'The Crown,' 'American Gods,' and 'This Is Us' Achieved Emotional Power...
Wednesday night’s season finale showed why the rest of the previous episodes lacked the distinctive spirit that’s helped make “Fargo” into its own creative entity. The previous two seasons have funneled their experiences through the police officer Solversons at the center: Alison Tolman’s Molly and Patrick Wilson’s Lou both anchored their respective seasons amidst a maelstrom of criminal (and in notable instances, supernatural) activity.
Read More: Noah Hawley on the ‘Fargo’ Finale and Why the Fate of Gloria Burgle Matters More Than You Think
But with a near-unprecedented cast including Ewan McGregor, Carrie Coon, David Thewlis, Mary Elizabeth Winstead, Scoot McNairy, Mary McDonnell, Shea Wigham and Michael Stuhlbarg, “Fargo” had that unique but very real problem of juggling an ensemble of actors who were each carrying their own shows within their respective plot lines. Gloria Burgle’s pursuit, the existential quandary of loyalty from Sy, and the classic, biblical blood feud between the two Stussy brothers all seemed like they were vying for supremacy in a show that tried to have it every way.
With all that impressive output in front of the camera, the various adventures that these characters went on seemed too stylistically disparate to be part of a focused season of television. Take Episode 8, “Who Rules the Land of Denial?” as an example. It’s a striking hour of TV, but one that owed its visual and philosophical approach to some of the other biggest TV shows on air right now. Nikki’s kitten-filled encounter in the bowling alley dipped into “Twin Peaks” territory, complete with Ray Wise’s presence. The bloody escape from the prison bus into the woods was practically a dimly lit “Game of Thrones” set-piece, complete with a surprise garroting.
These scenes came in the wake of the overtly Don Hertzfeldt-ian animation sequence from Episode 3 and presaged a “Leftovers”-adjacent piano theme at the end of Episode 9 that would probably make Max Richter do a double take. “Fargo” has always worn its influences on it sleeve, often with an accompanying wink and nod. This season felt like the first time some of the most gorgeous images on TV were in service of a faithful recreation of what’s worked elsewhere, rather than a visionary reinterpretation.
A series that had previously managed to bring together a nuanced look at opposing forces of good and evil managed to play this season fairly straight. By Thewlis’ own admission, V.M. Varga is a character completely without any redeeming qualities. He’s an out-and-out villain from frame one, drab business attire and all. The closest that he comes to any kind of sympathy is his sniveling, tiptoeing towards the elevator after he’s found out he’s under attack in the season finale.
Varga’s two defining characteristics — his rotting teeth and propensity to vomit up his nervous binge eating — were far more literal manifestations of the evil rotting him from inside and out than the show ever burdened its predecessors with. Lorne Malvo and Mike Milligan, previous “Fargo” heavies, were more than just sophisticated bad guys. Their calm demeanor, without much affectation, hinted at the insidious nature of human corruptibility. By placing all its narrative weight on a character who showed so much outward, borderline-cartoonish villainy, Season 3 robbed its central conflict of comparable substance.
And as far as the victim of Varga’s plotting, Emmit Stussy never really moved beyond being a hapless victim, closer to the bumbling cycle of unfortunate circumstances of Jerry Lundegaard from the “Fargo” film than the poisonous, bitter edge that Martin Freeman added to Lester Nygaard. As a result, Ewan McGregor’s double casting never really had the opportunity to move beyond a half-baked treatise on the nature of free will.
One of the reasons “Fargo” succeeded in creating something all its own in preceding installments is that it guided its ambiguities towards a greater purpose. Season 3’s many allegories and literary allusions left little room for interpretation or subversion. Whether listening to Billy Bob Thornton explain the opening of “Peter and the Wolf,” Varga explain Lenin’s appreciation Beethoven, or a series of animated characters float through the Stussy-authored sci-fi universe, each of these came with a blatant, explicit connection to the characters we saw on the screen. In previous seasons, those conclusions would be left to the audience to draw.
The conversation between Gloria and Winnie in Season 3’s penultimate episode also helped to underline this idea. A mystery that our own Ben Travers pointed out fairly early on — Gloria’s invisibility to technology — was made more intriguing by the explanatory distance the show took from it. But in baring her soul to Winnie, there was Gloria expressing all of those concerns out loud in convenient, metaphorical detail. The old “Fargo” would have had her merely stare down the bathroom sink sensor before finally realizing that her circumstances had changed, taking out any references to it in the conversation that came before.
As one final parting confirmation, the show delivered its Season 3 version of a time jump; a transformation that seemed so radical in Season 1 but here seems like a tacked-on afterthought. That audience handholding became even more literal when, without leaving the audience to fill in the blanks, it put the aftermath of the Stussy fortune in direct on-screen text. You could argue that this is a playful, twisted diversion meant to make Emmit’s kitchen assassination all the more shocking. But instead it seemed like a final emphatic exclamation point on the season’s special brand of reinforced cynicism.
Read More: The Coen Brothers’ Rules: 4 Filmmaking Practices That Give ‘Fargo’ Its Cinematic Consistency
All told, this season of “Fargo” was far from without merit. As much as Sy was hamstrung for most of the season, Stuhlbarg still proved that he’s one of the greatest working actors and a worthy addition to the series’ roster of Coen Brothers alumni. The Ray Stussy apartment ambush sequence is one of the best-directed scenes of the year. And the finale’s Mexican standoff was delivered in such a simple and unadorned way that made its consequences all the more tragic.
But even in the artistry of showing the two bodies fall from far away, Nikki’s character farewell underlined how much this version of “Fargo” reveled in making each new development as definitive as possible. A bullet hole to the forehead leaves little room for doubt. “Fargo” is still one of TVs most visceral crime shows, but one thing it didn’t borrow from its fellow 2017 TV shows was to let the mystery be.
Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Related stories'Fargo' Review: Season 3 Finale Ends the Debate and Tells Us If We've Been Wasting Our BreathNoah Hawley on the 'Fargo' Finale and Why the Fate of Gloria Burgle Matters More Than You ThinkHow Editors of 'The Crown,' 'American Gods,' and 'This Is Us' Achieved Emotional Power...
- 6/22/2017
- by Steve Greene
- Indiewire
[Editor’s Note: The review below contains spoilers for “Fargo” Season 3, Episode 6, “The Lord of No Mercy.”]
Immediate Reaction
Gloria Burgle to the rescue!
After an episode of incredible tension and unexpected tragedy, we didn’t realize how badly we needed to hear Carrie Coon say, “Screw it,” whip the cruiser around, and high-tail it back to “the P.O.’s domicile.” While the simultaneously ominous and uplifting strings certainly served to get our hearts beating, “Fargo” may as well have played Bonnie Tyler’s famous “Footloose” jam “Holding Out for a Hero” — because one is on the way!
It’s just we had to hold out a little too long. Just enough road blocks were thrown in front of Burgle to keep her from cracking the case earlier, and all that time led to an inevitable tragedy. Ray (Ewan McGregor) is the first major victim of Season 3 (unless you count the annual pilot sacrifice of Scoot McNairy’s Maurice Lafay), in a particularly well-orchestrated offing. First...
Immediate Reaction
Gloria Burgle to the rescue!
After an episode of incredible tension and unexpected tragedy, we didn’t realize how badly we needed to hear Carrie Coon say, “Screw it,” whip the cruiser around, and high-tail it back to “the P.O.’s domicile.” While the simultaneously ominous and uplifting strings certainly served to get our hearts beating, “Fargo” may as well have played Bonnie Tyler’s famous “Footloose” jam “Holding Out for a Hero” — because one is on the way!
It’s just we had to hold out a little too long. Just enough road blocks were thrown in front of Burgle to keep her from cracking the case earlier, and all that time led to an inevitable tragedy. Ray (Ewan McGregor) is the first major victim of Season 3 (unless you count the annual pilot sacrifice of Scoot McNairy’s Maurice Lafay), in a particularly well-orchestrated offing. First...
- 5/25/2017
- by Ben Travers
- Indiewire
Need to catch up? Check out our previous Fargo recap here.
Season 3 of Fargo has been sitting on simmer for a few weeks now, but it heated up to a full boil this week — and ah jeez, a main character wound up dead.
Ray is still fuming after Nikki’s savage beating at the hands of Yuri and Meemo. He grabs his gun, and they tail the two henchmen to an empty lot, where they spot V.M. Varga being ushered into a car. Nikki theorizes he’s the “head honcho,” and Ray’s ready to go after them, guns blazing.
Season 3 of Fargo has been sitting on simmer for a few weeks now, but it heated up to a full boil this week — and ah jeez, a main character wound up dead.
Ray is still fuming after Nikki’s savage beating at the hands of Yuri and Meemo. He grabs his gun, and they tail the two henchmen to an empty lot, where they spot V.M. Varga being ushered into a car. Nikki theorizes he’s the “head honcho,” and Ray’s ready to go after them, guns blazing.
- 5/25/2017
- TVLine.com
Well that was something, huh?
After spending weeks introducing quirky characters and setting up the war between St. Cloud's Stussy brothers, Fargo kicks off the second half of this year's run by tightening its narrative noose – and choking one of its major players to death. Tonight's episode – "The Lord of No Mercy" – continues this season's uncomfortably relevant inquiries into how our world is secretly controlled by cynics who manipulate what we believe. But this was also a refreshingly action-packed episode, with conflicts, close shaves … and one fatal shard of glass lodged in Raymond Stussy's neck.
After spending weeks introducing quirky characters and setting up the war between St. Cloud's Stussy brothers, Fargo kicks off the second half of this year's run by tightening its narrative noose – and choking one of its major players to death. Tonight's episode – "The Lord of No Mercy" – continues this season's uncomfortably relevant inquiries into how our world is secretly controlled by cynics who manipulate what we believe. But this was also a refreshingly action-packed episode, with conflicts, close shaves … and one fatal shard of glass lodged in Raymond Stussy's neck.
- 5/25/2017
- Rollingstone.com
The Leftovers, Season 2, Episode 1, “Axis Mundi”
Directed by Mimi Leder
Written by Jacqueline Hoyt, Damon Lindelof and Tom Perrotta
Airs on Sundays at 9 pm (Et) on HBO
Three years after a global event in which 140 million people (2% of the world’s population) inexplicably disappeared, those left behind are still trying to push the catastrophic event out of sight and mind. And it seems no matter how hard they try, the sudden departure, is something they just can’t escape. The Leftovers examines the complexity of human emotions and how this event has affected everyone in different ways. It’s a masterclass in establishing mood and creating mystery and told in a series of interwoven tales of people searching for answers while others try to simply forget. Of the ten episodes in the first season, three of them (“Two Boats And A Helicopter,” “Guest,” and “The Garveys At Their Best”) were...
Directed by Mimi Leder
Written by Jacqueline Hoyt, Damon Lindelof and Tom Perrotta
Airs on Sundays at 9 pm (Et) on HBO
Three years after a global event in which 140 million people (2% of the world’s population) inexplicably disappeared, those left behind are still trying to push the catastrophic event out of sight and mind. And it seems no matter how hard they try, the sudden departure, is something they just can’t escape. The Leftovers examines the complexity of human emotions and how this event has affected everyone in different ways. It’s a masterclass in establishing mood and creating mystery and told in a series of interwoven tales of people searching for answers while others try to simply forget. Of the ten episodes in the first season, three of them (“Two Boats And A Helicopter,” “Guest,” and “The Garveys At Their Best”) were...
- 10/5/2015
- by Ricky Fernandes
- SoundOnSight
International and documentary competitions include The Skeleton Twins, ‘71 and The Look of Silence. A total of 17 world premieres secured for the festival, which has received a budget boost.
The 10th Zurich Film Festival (Sept 25 – Oct 5) has revealed its full line-up, which comprises 145 features – up from 122 last year – from 29 countries.
Co-director Nadja Schildknecht revealed a rise in budget for the festival as well as growth in anticipated guest numbers.
“This year, we expect some 500 guests (previous year 450) from around the world to accompany their films,” she said.
“And the budget has increased accordingly to CHF6.9m ($7.4m) (previous year CHF6.1m/$6.5m).”
As previously announced, Tate Taylor’s James Brown biopic Get On Up will open the festival on Sept 25. The closing film has yet to be revealed.
International competition
The International Feature Film Competition includes 14 titles, some of which have received critical acclaim at previous festivals such as Yann Demange’s action thriller ‘71, which debuted at the...
The 10th Zurich Film Festival (Sept 25 – Oct 5) has revealed its full line-up, which comprises 145 features – up from 122 last year – from 29 countries.
Co-director Nadja Schildknecht revealed a rise in budget for the festival as well as growth in anticipated guest numbers.
“This year, we expect some 500 guests (previous year 450) from around the world to accompany their films,” she said.
“And the budget has increased accordingly to CHF6.9m ($7.4m) (previous year CHF6.1m/$6.5m).”
As previously announced, Tate Taylor’s James Brown biopic Get On Up will open the festival on Sept 25. The closing film has yet to be revealed.
International competition
The International Feature Film Competition includes 14 titles, some of which have received critical acclaim at previous festivals such as Yann Demange’s action thriller ‘71, which debuted at the...
- 9/11/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The Strain, Season 1, Episode 4, “It’s Not For Everyone”
Written by Regina Corrado
Directed by Keith Gordon
Airs Sundays at 10pm Est on FX
From July 30 to August 23 of 1903, the 2nd Congress of the Russian Social Democratic Labour Party was held in Brussels and London. Vladimir Lenin and Juliy Martov were at odds through much of it due to disagreements over the major points in the party’s Programme. It eventually reached the point where the party split into the Bolsheviks, led by Lenin, and the Mensheviks, led by Martov. Nearly a year after the lively sessions, Lenin wrote a paper on the experience, explaining his side of the story, and he called it “One Step Forward, Two Steps Back”.
That could also be The Strain‘s motto. After the fantastic final few minutes of last week’s episode, with its genital loss and general sense of momentum, this episode...
Written by Regina Corrado
Directed by Keith Gordon
Airs Sundays at 10pm Est on FX
From July 30 to August 23 of 1903, the 2nd Congress of the Russian Social Democratic Labour Party was held in Brussels and London. Vladimir Lenin and Juliy Martov were at odds through much of it due to disagreements over the major points in the party’s Programme. It eventually reached the point where the party split into the Bolsheviks, led by Lenin, and the Mensheviks, led by Martov. Nearly a year after the lively sessions, Lenin wrote a paper on the experience, explaining his side of the story, and he called it “One Step Forward, Two Steps Back”.
That could also be The Strain‘s motto. After the fantastic final few minutes of last week’s episode, with its genital loss and general sense of momentum, this episode...
- 8/4/2014
- by Jake Pitre
- SoundOnSight
Songs of the Blue Hills screens in documentary competition
The 8th edition of Signs Film Festival, to be held from May 28-June 1 in Kochi (Kerala) has unveiled lineup.
Organized by the Kerala Sub Region of the Federation of Film Societies of India, the festival features a national level competition for documentaries and short fiction. It has 4 award categories: Best Documentary, Prize: Rs 50,000; Best Short Feature(duration less than 70 minutes), Prize: Rs 50,000; Cinema of Resistance (Award for the best short feature/documentary on subjects like state oppression, human rights, environmental issues, gender equality, social/cultural identity etc), Prize: Rs 25,000; Cinema Experimenta (Award for the best experimental attempt), Prize: Rs 25,000.
The 2014 Jury will be headed by filmmaker Madhushree Dutta and will consist of artist and sculptor Riyas Komu; and filmmaker and academician K.B. Venu.
Films Selected For Screening In Signs 2014
Fiction – Competition
Dwand / 12 Min. / Director: Abhilash Vijayan Calls Unanswered / 16 Min. / Director: Vibhuti Narayan Upadhyay Thutse Kyume / 12 Min.
The 8th edition of Signs Film Festival, to be held from May 28-June 1 in Kochi (Kerala) has unveiled lineup.
Organized by the Kerala Sub Region of the Federation of Film Societies of India, the festival features a national level competition for documentaries and short fiction. It has 4 award categories: Best Documentary, Prize: Rs 50,000; Best Short Feature(duration less than 70 minutes), Prize: Rs 50,000; Cinema of Resistance (Award for the best short feature/documentary on subjects like state oppression, human rights, environmental issues, gender equality, social/cultural identity etc), Prize: Rs 25,000; Cinema Experimenta (Award for the best experimental attempt), Prize: Rs 25,000.
The 2014 Jury will be headed by filmmaker Madhushree Dutta and will consist of artist and sculptor Riyas Komu; and filmmaker and academician K.B. Venu.
Films Selected For Screening In Signs 2014
Fiction – Competition
Dwand / 12 Min. / Director: Abhilash Vijayan Calls Unanswered / 16 Min. / Director: Vibhuti Narayan Upadhyay Thutse Kyume / 12 Min.
- 5/20/2014
- by NewsDesk
- DearCinema.com
Maybe it's his frequent appearance in period films, or his stint on "Mad Men," but Jared Harris feels a little bit like he's from another time.
When I met up with him in New York, he was wearing a vintage tie that he'd gotten from a Toronto thrift store recommended to him by "Mad Men" costar Christina Hendricks. He looked dapper and from a bygone era, which is pretty fitting considering we were chatting about his new movie, "The Quiet Ones," a Hammer-produced horror thriller set in '70s England in which Harris's university professor tries to dispel the notions of the supernatural by taking part in a scientific exorcism of a young girl.
Among the topics we discussed: what his relationship with horror movies is like, what scares him, and what his roles in the upcoming "Poltergeist" reboot, Guy Ritchie's "The Man from Uncle," and Laika's newest animated film,...
When I met up with him in New York, he was wearing a vintage tie that he'd gotten from a Toronto thrift store recommended to him by "Mad Men" costar Christina Hendricks. He looked dapper and from a bygone era, which is pretty fitting considering we were chatting about his new movie, "The Quiet Ones," a Hammer-produced horror thriller set in '70s England in which Harris's university professor tries to dispel the notions of the supernatural by taking part in a scientific exorcism of a young girl.
Among the topics we discussed: what his relationship with horror movies is like, what scares him, and what his roles in the upcoming "Poltergeist" reboot, Guy Ritchie's "The Man from Uncle," and Laika's newest animated film,...
- 4/24/2014
- by Drew Taylor
- Moviefone
New Delhi, Oct 15: Films like "Ship Of Theseus", "Omg - Oh My God!", "Paan Singh Tomar" and "Bhaag Milkha Bhaag" are among the 26 feature films to be showcased in the Panorama section of Iffi, which will be opened with Malayalam film "Kanyaka Talkies".
Iffi (International Film Festival of India) will held in Goa Nov 20-30.
Tigmanshu Dhulia's "Paan Singh Tomar", which was named the best feature film at the 60th National Film Awards ceremony, made it to the list by the virtue of a direct entry, while the remaining movies were chosen from 210 entries by a nine-member jury, headed by filmmaker-editor B. Lenin, read a statement.
In.
Iffi (International Film Festival of India) will held in Goa Nov 20-30.
Tigmanshu Dhulia's "Paan Singh Tomar", which was named the best feature film at the 60th National Film Awards ceremony, made it to the list by the virtue of a direct entry, while the remaining movies were chosen from 210 entries by a nine-member jury, headed by filmmaker-editor B. Lenin, read a statement.
In.
- 10/15/2013
- by Meeta Kabra
- RealBollywood.com
Malayalam film Kanyaka Talkies by K. R. Manoj will open the feature film category while Kamal Swaroop’s Rangbhoomi will open the non-feature category of Indian Panorama at the International Film Festival of India (Iffi) 2013.
Indian Panorama will screen 26 Feature films and 16 Non-Feature films.
The jury for Feature films, headed by filmmaker and editor B. Lenin, selected 25 films out of a total of 210 eligible entries. Paan Singh Tomar by Tigmanshu Dhulia which won the Best Feature Film award at the 60th National Film Awards has been selected by virtue of direct entry.
The Non-Feature films Jury, chaired by director Raja Sen, picked 15 films out of 130 eligible entries. Kashmiri film Shepherds of Paradise directed by Raja Shabir Khan which won Best Non – Feature Film award at the 60th National Film Awards has also been selected by virtue of direct entry.
Complete list:
101 Chodyangal by Sidhartha Siva
Ajana Batas by Anjan Das...
Indian Panorama will screen 26 Feature films and 16 Non-Feature films.
The jury for Feature films, headed by filmmaker and editor B. Lenin, selected 25 films out of a total of 210 eligible entries. Paan Singh Tomar by Tigmanshu Dhulia which won the Best Feature Film award at the 60th National Film Awards has been selected by virtue of direct entry.
The Non-Feature films Jury, chaired by director Raja Sen, picked 15 films out of 130 eligible entries. Kashmiri film Shepherds of Paradise directed by Raja Shabir Khan which won Best Non – Feature Film award at the 60th National Film Awards has also been selected by virtue of direct entry.
Complete list:
101 Chodyangal by Sidhartha Siva
Ajana Batas by Anjan Das...
- 10/15/2013
- by NewsDesk
- DearCinema.com
The drama series Being Erica will return this fall on CBC, a Canadian TV network, for a fourth season.
In the fourth season, Erica Strange (Erin Karpluk), a woman in her thirties from Toronto, is trained by Dr. Tom (Michael Riley). In her fourth phase of her therapy, Erica learns how to be a doctor who helps people fix their regrets.
Her trial patients get to be her own friends and family relatives. She travels back in time to help them and they're not aware that she's treating them.
Relations
Erica is still with her new boyfriend Adam (Adam Fergus). However, when Kai (Sebastian Pigott) comes back, she finds herself torn.
Erica also has to live with growing pains at 50/50 Press, a publishing company she founded with her business partner Julianne Giacomelli (Reagan Pasternak).
Erica's parents (John Boylan and Kathleen Laskey) go further in their reconciliation. As for Samantha (Joanna Douglas), Erica's younger sister,...
In the fourth season, Erica Strange (Erin Karpluk), a woman in her thirties from Toronto, is trained by Dr. Tom (Michael Riley). In her fourth phase of her therapy, Erica learns how to be a doctor who helps people fix their regrets.
Her trial patients get to be her own friends and family relatives. She travels back in time to help them and they're not aware that she's treating them.
Relations
Erica is still with her new boyfriend Adam (Adam Fergus). However, when Kai (Sebastian Pigott) comes back, she finds herself torn.
Erica also has to live with growing pains at 50/50 Press, a publishing company she founded with her business partner Julianne Giacomelli (Reagan Pasternak).
Erica's parents (John Boylan and Kathleen Laskey) go further in their reconciliation. As for Samantha (Joanna Douglas), Erica's younger sister,...
- 6/8/2011
- by anhkhoido@gmail.com (Anh Khoi Do)
- The Cultural Post
"Being Erica" is a bittersweet topic for American fans of the Canadian series.
Sweet, because the show has been renewed and is currently shooting Season 4. Bitter, because Disney's planned shut down of SOAPnet leaves the series without an American home next year. We can only hope someone smartens up and picks up the series for American fans.
Thankfully, we just learned something that tips us back into the sweet area when we spoke to Brandon Jay McLaren recently about his role as Bennett Ahmed on the AMC show, "The Killing."
"I just started shooting Season 4 of 'Being Erica' this week," McLaren tells Zap2it. "I always considered my character to be a one season kind of thing. When I heard about the pickup, I didn't assume I was going to be included in that. Then, I got the call that they wanted to bring the character back, which was great.
Sweet, because the show has been renewed and is currently shooting Season 4. Bitter, because Disney's planned shut down of SOAPnet leaves the series without an American home next year. We can only hope someone smartens up and picks up the series for American fans.
Thankfully, we just learned something that tips us back into the sweet area when we spoke to Brandon Jay McLaren recently about his role as Bennett Ahmed on the AMC show, "The Killing."
"I just started shooting Season 4 of 'Being Erica' this week," McLaren tells Zap2it. "I always considered my character to be a one season kind of thing. When I heard about the pickup, I didn't assume I was going to be included in that. Then, I got the call that they wanted to bring the character back, which was great.
- 5/26/2011
- by editorial@zap2it.com
- Zap2It - From Inside the Box
A new breed of filmmakers is now busy turning the tables on the fourth estate with movies like 'Paa' and 'Rann'. Incidentally, both star Amitabh Bachchan who often takes potshots at the media in real life.Promos of director Ram Gopal Varma's 'Rann' clearly suggest he is making an attempt to expose errant journalists and their often wanton ways, particularly those from the electronic media.'No one is taking the media head-on here. However, what is going to happen for sure is that 'Rann' will expose the media in its nakedness,' Varma was quoted as saying by a website.The director had got a raw deal from the media when he visited the Taj hotel complex in Mumbai post-26/11 with the then chief minister of Maharashtra. The media alleged that he went there to get material for his films.Amitabh,...
- 1/10/2010
- Filmicafe
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