1. 20th edition of International Film
Festival of Kerala did have an
enticing start today in the thickly packed
Nishagandhi Auditorium. Oommen
Chandy, Chief Minister of Kerala, lighted
the traditional lamp followed by Zakir
Hussain and Julio Bressane, inaugurating
IFFK 2015 in the presence of cine-
enthusiats including delegates and
special invitees. Chief Minister reminded
the audience about the relevance of the
Festival as the world has already been
reduced to a global village. Thiruvanchoor
Radhakrishnan, Minister for cinema,
delivered the presidential address. The
key-note address was made by the tabla
virtuoso Zakir Hussain.
The world renowned dignitaries
present from cinema and cultural fields
made the ceremony incomparably
colourful and memorable. Nucleus
of the function, tabla maestro Ustad
Zakri Hussian was honoured by
Thiruvanchoor Radhakrishnan, Minister
for cinema. AP Anil Kumar, Minister for
Tourism, Shashi Tharoor MP, Palode Ravi,
Deputy Speaker, Rani George IAS and Shaji
N Karun, festival Director felicitated the
function. Jiji Thomson IAS, Chief Secretary,
welcomed the audience. T Rajeevnath,
Chairman KSCA introduced the festival
and jury members to the gathering. S
Rajendran Nair secretary KSCA delivered
the vote of thanks. Festival Book, IFFK
2015 souvenir, and Daily Bulletin were
released. Keerthana Mannayam |
Resonant With Percussive Rhythms
The Inaugural Set The Tone Of The Fest

2. The 20th edition of IFFK will shine a
spotlight on Lithuanian films. The
evolution of Lithuanian cinema began
from the documentary chronicles, which
were created before the First World War
and in the period between the wars. Until
1990s Lithuanian cinema was limited to
state-funded-art-house-movieswhichhad
very limited exposure in Lithuania itself
since Lithuanians are not avid cinema
goers. Lithuanian film industry made a
spectacular come-back in 2010s with the
emergence of small production houses
and through exploring the possibilities
of co-production. Lithuanian cinema has
just begun to revive, it has started to use
its own voice, close to life approaches,
delving into the areas of the underclass,
and reaching to the recent history of
Soviet occupation.
IFFK will showcase 5 prominent
Lithuanian films in the Country
Focus section. Feelings directed by
Algirdas Dausa is a drama of sea-
coast fishermen's passions. The film is
The Crests And Troughs Of
Lithuanian New Wave
notable for its psychological treatment
and cinematography. It was banned in
Soviet Union except Lithuania. Arunaz
Zebriunas’ The Beautiful girl explores
the theme of external and inner beauty
of humans. Poetic language of the film,
its visual metaphors and associations
reveal the necessity of inner beauty in
a human being – feelings, dreams, faith
and memories. The director focussed
not only on the context of cultural life in
Lithuania in 60s and 70s but also on the
film language. The film stands out for its
expressive camera work. Feelings and
The Beautiful girl belong to Lithuanian
Classic Cinema.
The Lithuanian New Wave is
represented by Ignas Jonynas’ The
Gambler, Kristina Buozyte’s The Colle-
ctress and Audrius Juzenas’ The
Excursionist. The Gambler was selected
as the Lithuanian entry for The Best
Foreign Language Film at the 87th
Academy Awards. The film is a very
raw and authentic portrayal of the
lives of Lithuanian emergency services
personnel. The medium is the message in
Kristina Buozyte's The Collectress where
Gaile, a speech therapist, falls in love with
her own images. The Excursionist based
on a true story portrays the violence and
aftermaths of World War II through the
eyes of a courageous young girl.
Daily Bulletin Team |
COuNTRY FOCUS
2

3. T
ony Gatlif captu-
res the angst of
nomads, ref-ugees,
expatriates, ethnicity and the loss of
motherland. He was born in Algiers, the
capital of Algeria- an erstwhile French
colony- to a Romani mother and a Kabyle
father. He fled to Paris in 1960 as the
bloody struggle for independence grew
full-swing in Algiers. Gatlif strove hard
to make a break into the film domain for
around fifteen years before he could do
it. He was unwilling to endorse to the fact
that it was his destiny to be a wanderer
as he inherits the nomadic traces in his
veins. He had been a proud inheritor of
the Gypsy culture, which was later on
renamed as Romani when the earlier
term began to be considered as an
address of racial disgrace.
In 1975, he directed La tete en ruines,
and completed La terre au ventre in
1979. Through Corre Gitano he started
to carve out the life and lifelessness of
the Romani culture hard and deep with
all its colourful vociferousness. Romanis
had, like the Jews, the experience of
genocide during the period of Nazi rule.
But this was never recorded in any format
as they had no permanent mother/
fatherland. In the 80s and 90s he finished
some more of his films. Through his work
Latcho Drom done in 1993, Gatlif settled
down to his later-on-style of narrating a
whole film with music and dance; and
this film bagged a number of awards in
the film festivals around the globe. There
are critics who believe that this film is
a documentary, even. Gatlif is trying to
construct a visual equivalence to the
settled sedentary culture by building
a visual texture which is absolutely
nomadic in spirit. He seems to suggest
that journey is home to a nomad. When
his Gadjo dilo was screened in the Venice
Film Fest, the audience offered a standing
ovation at the end of the screening. The
hero of the film Stephan gets identified
with the Romani culture and in turn with
the audience. Gatlif was awarded the best
director in Cannes Film Festival for his
Exils in 2004. The film does not prompt
theviewertogetidentifiedwithanyofthe
characters. In 2006, his film Transylvania
had world premiere in Cannes Film
Festival. In 2009 he did a movie titled
Korkoro, which means freedom. This
film, based on the observations of the
Romani historian Jacques Sigot, follows
the life of a Romani who escapes from
the Nazis with help of the French. This
film bagged the Grant Prize award in
Montreal Film fest. Indignados, done on
the basis of the article ‘Time for Outrage’
by Stephan Hessel, simply stunned
the world with its offbeat approach in
narration and nonlinear organization. The
film posits the bedrock question, ‘Where
is humanity leading itself to?’ He reminds
us of the critical edge where the ideals
like peace and democracy have been
led to. His 2014 film Geronimo taunts
the audience with its novel and rapid
narrative technique. In Locarno Festival
Geronimo was honoured with the Piasse
Grand award. Gatlif has made his mark
distinct with the anguish of gypsydom,
refugee issues, loss of one’s motherland
and cultural hybridization. “I follow my
own path; I realize my films”, says Gatlif.
He does not glorify the nomads in his
works, but upsets the common sense
of the world which tends to forget that
they, too, are humans.
Translated by mammed montage
GP Ramachandran |
Reconstructing A
Destiny
Foredoomed
05th
December 20153

4. Filmfestivalsaresaidtobeintermittently
gratifying and frequently maddening
events. Films are being viewed in
marathon sessions in different categories
viz International competition, World
cinema, Regional cinema, Retrospectives,
Homage, etc.
Thereisaclaimthatoutofhundredsof
films shown in the festivals only a few are
outstanding or ‘good to great films’ that
have value to cinema culture. In fact the
festival programmers can use their role
as gate keepers to strategically challenge
dichotomous valuations of films as
either art or commerce and to facilitate
ways of looking that allow for different
nationalistic models of homogeneity.
Curators with a taste are needed to define
the future directions of our film culture.
Festivals do not just showcase films, they
actively build audience and communities.
The success or otherwise of a film festival
depends not only on the availability of
the well curated films but also the way
in which the festival is conducted. In its
19 years of existence IFFK has managed
to carve out a niche for itself with the
kind of films we have screened. What
difference can the audience expect from
the upcoming edition?
InthiseditiontheChalachitraAcademy
has a mix of films that address a range of
subjects. Films based on true stories in
the curated section, First Look, curated
Section of debut films, Women Power,
Films depicting women as protagonists,
Restored Classic films from National
Film Archives, Korean Panorama, Cross
section of contemporary Korean Films,
Three films on Jury Films section, Six 3D
Films viz Wolf Totem, Martian, Life of Pi,
Love, Pan and Everything will be fine,
Films by Lifetime Achievement Awardee
Dariush Mehrjui, Five Lithuanian films
and two Myanmar films in the Country
Focus. Besides the usual international
competition with 14 films, World cinema,
Malayalam cinema today, and Indian
cinema now are parts of this edition.
The delegates can choose 30 to 40
films from around 190 films to suit their
timings. I shall try to underline certain
films which I feel are having some quality.
For the day one(5th Nov) you can make
a try on the films: Mountains May
Depart, Wondrous Boccaccio, Diary of a
Chambermaid, Degrade, Sweet Red Bean
Paste, Francofonia, Trap, Margurite, and
The Measure of a Man.
Afestival buff friend
of mine wondered
why we still call these
festivals ‘film’ festivals?
In this post-celluloid era
where almost all movies
are screened in the digital format, isn’t
it better we call them moving image
festival or something like that? True,
the digital has revolutionized the way
we imagine, image, produce, process,
distribute, exhibit, watch and share
moving images. By film, my friend
obviously meant the celluloid cinema,
which automatically evokes all kinds of
nostalgic feelings – of loss, luminosity,
and love for the projected images and
community viewing.
Today, several other media
entertainment formats and gadgets
have usurped contemporary films of
the pleasures they offered and the
attention they demanded. As a result,
films too seem to be struggling with an
identity crisis of sorts, the new formats
mindlessly multiplying and ‘diluting’
cinematic experience through ever
sleeker gadgets, but also spreading
it to hitherto impenetrable corners
of society. But the magic of cinema
endures in its big screen experience
and the physical presence of the
audience, as against the ever increasing
customization and personalization of
the new gadgets. Cinema has tried to
counter this assault by making itself
spectacular, coaxing the viewer to
watch them on big screens. Art cinema,
on the other hand, experimented with
narrative forms and formats. They
seem to ‘live up’ to the challenges of the
new media/internet visual world and
experienceofinteractivity,instantaneity,
hyperlinks and multiple windows,
by trying out non-linear narratives,
multiple screens, portmanteau films
etc. These narratives give the viewer the
navigating experience similar to internet
browsing and multimedia games where
one constantly slides from one screen/
link to another, in the process, mixing
genres, and erasing the boundaries
between the virtual and the real. There
is also an effort to reassert and re-create
the experience of Reality by creating a
meditative pace in film. Filmmakers like
Apitchatpong Weerasethakul, Tsai Ming-
Liang, Lav Diaz etc invite the viewers into
a totally different pace, freed from the
Beginning-Middle-End prisons of linear
narratives. That they are all from Asia is
an indicator of a gradual but definitive
shift in World cinema, and also in film
aesthetics, which sadly is yet to receive
the theoretical attention it deserves.
Cinema-Celluloid Ecstacy
CS Venkiteswaran |
A MeeraSahib |
To Digital Meditations
Reflections on film festivals
4

5. PRESS MEET
12PM | Tagore Theatre
MEET THE DIRECTOR
3 PM | Tagore Theatre
PANEL DISCUSSION
4pm-5pm | Executive Launch, Mascot
Hotel
Censoring and Freedom of Expression
The Nishagandhi auditorium was literally enchanted by the magical
fingers on tabla renderings by the legendary Ustad Zakir Hussain at
the inaugural ceremony of 20th
edition of international Film Festival
Of Kerala. The adept beats made by the magically rich fingers of
Zakir Hussain was accompanied by the Sabir Khan’s own Sarangi.
The event presented an ever-memorable instant for everyone
gathered in the auditorium. The programme commenced after the
inaugural ceremony of IFFK. Through his tabla, Zakir Hussain created
the musical chants by composing the sounds of ‘rain’ , ‘deer in the
forest’, ‘human conversations’ etc., which were received with ovation
from the audience. As he poetically stated in his key-note address,
he succeeded in ‘speaking through his instrument’. The spellbinding
performance lasted for more than 30 minutes.
Amala T Chacko |
Musical Magic Incarnate
IN CONVERSATION WITH
5pm-6 pm | Tagore Theatre
Mr.Julio Bressane, Chairman,
International Jury by Mr Pradeep Biswas
MASTER CLASS on Screen play
3pm-4pm | Executive Launch, Mascot
Hotel
Mr. Martin Sherman
JugalbandhiFestival
6.30pm |BalabhavanAuditorium
Mohiniyattam
6.30pm | Kanakakkunnu Palace
FILM SCREENING
7pm | Manaveeyam Veedhi
About Elly
Iran/2012/Colour/119’/Persian
Director: Asghar Farhadi
EVENTSTODAY
“Expecting a better organisational mana-
gement in scheduling films and seating
arrangement in theatres”.
- Binduja, Journalism student
“Increased number of seats will encourage
more participants. Hope this time academy
will rectify its previous fallacy and make the
fest much better.”
-Aravind K.S., Film Student
Delegates Column
Snaps from the flash-binding opening of 20Tth
Edition of IFFK
at Nishagandhi Auditorium
05th
December 20155

6. Festival Director T Rajeevnath, Chaiman KSCA Editorial Board Chairman J Ajith Kumar Convenor Renji Kuriakose
Coordinator Jayanthi Narendranath Chief Editor S Rajendran Nair, Secretary KSCA Executive Editor Sadeesh Chalippadam
Associate Editor Mammed Montage Assistant Editor TM Hisham Sub Editor Haris Nenmeni Reporters Amala T Chacko,
Jayasree C, Keerthana Mannayam Stills Ajay Saga, Shijin V K Design & Layout Shabeer M P Layout Assistant Saeed Fasal
Printing Akshara Offset, Thiruvananthapuram Editorial Support Haris Kormath
Printed & published by S Rajendran Nair, Secretary, Kerala State Chalachitra Academy, Thiruvananthapuram on behalf of
the Department of Cultural Affairs, Govt of Kerala.
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6

7. Organised By FEDERATION OF FILM
SOCIETIES OF INDIA, KERALA
In Association with KERALA STATE
CHALACHITRA ACADEMY
Ajay Saga
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k‑n‑nab‑v¡‑pÅ t‑Zi‑ob Ah‑mÀU‑v t‑S‑nb N‑n{‑Xa‑mW‑v
"s‑F³‑'. a‑pj‑y P‑oh‑nX¯‑ns‑â k¦‑oÀ®XIs‑f a‑m‑p F¶
k‑m[‑mcW¡‑mc‑ne‑qs‑S Bc‑mb‑pIb‑mW‑v k‑wh‑n[‑mbI³
k‑n²‑mÀ°‑v i‑nh. k‑z´‑w h‑yà‑nX‑z‑w Xs‑¶ X‑nc‑n¨d‑nb³
Ig‑nb‑m¯ a‑m‑ph‑ns‑â s‑s‑hI‑mc‑nIP‑oh‑nX¯‑ns‑â
c‑m{‑ã‑obh‑p‑w Bß‑obh‑pa‑mb a‑m§Ä k‑n‑na t‑XS‑p¶‑p.
X‑ncs‑ªS‑p¸‑p Z‑nhks‑¯ Ah[‑n Bt‑L‑mj‑n¡‑m³ h‑nP
a‑mb _‑wK‑vf‑mh‑n H¯‑pI‑qS‑p¶ A©‑v s‑Nd‑p¸¡‑mc‑ps‑S
k‑z‑m`‑mh‑nI P‑oh‑nX¯‑ns‑â IY ]d-b‑p-I-b‑mW‑v kÂI‑p-
a‑mÀ ii‑n-[-c³ k‑wh‑n-[‑m‑w s‑Nb‑vX ‑"Hg‑n-h‑p-Z‑n-h-ks‑¯
If‑n‑' F¶ N‑n{‑X‑w. kaI‑me‑nI t‑Icf¯‑ns‑â c‑m{‑ã‑ob
N‑pä‑p]‑mS‑p‑w Ag‑naX‑nb‑p‑w P‑mX‑oba‑mb t‑hÀX‑nc‑nh‑p‑w
IY‑m]‑m{‑X§f‑ne‑qs‑S NÀ¨ s‑N¿‑p¶‑p. kach‑p‑w kabh‑p‑w
X½‑ne‑pÅ ‑nÀ®‑mbI t‑NÀ¨b‑p‑w t‑NÀ¨t‑¡S‑p‑w
H‑mÀ½s‑¸S‑p¯‑pIb‑mW‑v h‑n.s‑I. {‑]I‑mi‑ns‑â ‑nÀ®‑mbI‑w
F¶ k‑n‑na. kach‑p‑w lÀ¯‑me‑p‑w k‑m[‑mcW¡‑mcs‑â
P‑oh‑nX¯‑n k‑rã‑n¡‑p¶ Z‑pc´§Ä H«‑p‑w
AX‑nit‑b‑mà‑n IeÀ¯‑ms‑X Ah-X-c‑n-¸‑n-¡‑p-¶‑pï‑v C‑u
N‑n{‑X‑w. {‑]i‑v§Ä¡‑pt‑s‑c I®Sb‑v¡‑ms‑X N¦‑pdt‑¸‑ms‑S
t‑c‑nSWs‑a¶‑v k‑n‑na t‑{‑]£It‑c‑mS‑v Bl‑z‑m‑w
s‑N¿‑p¶‑p.
07-12-2015 FTII and the Legacy &
Future of Cultural Institutions in India
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Stock to Move Forward
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Movement in Kerala. Where do we go
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TAGORE THEATRE
5PM TO 6 PM
Daily Bulletin Team |
05th
December 20157

8. Anne Seibel, a French Production
Designer who began her career
working on American productions that
filmed abroad in France. Anne has keen
sensibilities and is an innovative and
creative collaborator. She attended Ecole
Speciale d’Architecture, DESA in Paris and
has a degree in Architecture from the
prestigious school.
Anne Siebel did nothing to be what
and where she is now. “I have just been
myself,” she says.
A rewarding career that started as an
Art Director on American productions
filmed in France, her work in relishing
movies such as ‘Magic In the Moonlight,’
‘Hereafter,’ ‘Munich,’ and ‘The Devil
Wears Prada,’ being sought after by big
names like Steven Spielberg and Woody
Allen, and an Oscar nomination for
‘Midnight in Paris’ in 2012, which was all
probably more of a work of destiny.
As a child, she remembers having
planned a stage while playing with her
cousinbrotherorenjoyedsettingupprops
for dances. “Later, I went on to take up
study of medicine like most in my family,
but moved on to study architecture all
the while not realising why am I doing it,”
recollects Anne, in Thiruvananthapuram
as a resource for ‘IFFK Screen Lab 2015,’ a
workshop for technicians held as part of
the 20th IFFK.
Even when she was taken to the sets
of a film first, she didn’t do much for
things to get going. “Now, when I look
back, I feel it was all destiny.”
Her intuitive mind has helped at work,
though in personal life, the trait has
brought her moment of pestering agony.
"There have been times when ideas came
during the slow gap between dream and
waking up. I have always thought I should
write them down."
For a movie like ‘Midnight in Paris’,
her approach was to bring forth the
subtle sensitivity of the plot. The design
had to be done after research into the
periods spanned by the film, and the
make of its characters and the emotional
topography of Paris.
Her knack to get into the skin of
the milieu in which the storyline is cast
comes boldly across in ‘Road Movie,’ by
Dev Benegal, for a Westerner to grasp
Indian terrains, the flamboyant splash
of colour on vehicles, and the feel of the
open road here.
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