1. In a Face To Face interaction Pradip
Biswas, a film scholar and author, Jury
member of international film festivals,
the mascot director from Brazil Mr.
Julio Bressane Eduardo, jutted out that
“in Brazil there is no traditional film
industry”. It is sad but so very true.
Julio Bressane Eduardo in his
interactive session told this critic as
well as film aficionados, present at the
Tagore Theatre, this is a fact that Brazilian
cinema of other kind grew in the 60s
spearheaded by Glauber Rocha, his
friend filmmaker. In fact, we know, the
whole of the world filmmakers learnt the
art of making films with 16 mm camera, a
phenomenon in whole of Latin America.
Said Julio Bressane: “It was a terrible
time, a cruel time for filmmakers making
films politically in Brazil.”
Said Julio Bressane: “I have a personal
tragedy as I was caught in a distraught
fight with the Cinema Novo Movement
of which I was a part. Some filmmakers with
political agenda stood my way and spiked
my free movement to do my own kind of
cinema.” By then Glauber was banned from
thecountrybythemilitaryregime.ButImade
a small group of like-minded filmmakers and
started our own Brazilian Cinema Minimal.
Thisis the bottom-line for us then.
When asked how many films he could
make till this day, he informed the present
gathering: “Personally I have 50 films
and they are of variegated in nature. No
one film looked like the other. A creative
director must be innovative and must not
target a particular audience. In Brazil,
cinema attendance is very poor and
hardly two to three thousand people go
to theatres to watch films. So we of the
generation along with new generation
look for Television for taking our films to
wider TV viewers.”
When I reminded of a great achieve-
ment of a Brazilian director Piereira dos
Santos whose film Prisons Of Memory
won the Special Jury Award at IFFI, New
Delhi in 1985 chaired by the noted French
actress Jean Moreau. Julio Bressane
acknowledged this with pride and said
“he is my friend and contemporary.”
Julio Bressane lamented the fact
that Brazilian theatres are occupied by
America films and this in the process
stalls righteous exposure of genuine
Brazilian films. Said he: “I am happy to tell
you that my films seem to have inspired a
band of young filmmakers to make films
according to what my films have taught
them. This is balanced picture of Brazilian
cinema at present.”
A Defiant
BrazilIn
Voice
Julio Bressane Eduaordo:

2. Dr. Preeya Nair |
2
Women Power
Engendering
The Gaze
Cinema has ever been
an art for male sake.
The cinematic signs
reassert the secondary/
subaltern status of women in a society.
Female film, a counter cinema, is an
alternative representation which evolves
a separate genre of resistance that tries
to subvert the dominant discourse of
cinema there by helping her to acquire
a subjectivity which holds cultural,
political as well as historical significance.
It questions the objectified subjectivity
of women in films and deconstructs the
male gaze to evolve as a separate genre
of contemporary films. It has given way
to the creative representation of the
protests of women around the globe to
establish gender justice. International
Film Festival of Kerala is witnessing
in the 20th edition a special package
titled Women Power, showcasing the
experiences of womanhood of seven
different nationalities. The package
brings to the frame the unsophisticated,
marginalised third world female that
stands at odds with the dominant first
world films.
Jayro Bustamante’s debut film Ixcanul
narrates the story of the unexpected turn
in the life of the 17 year old Kaqchikel
Mayan girl named Maria and the beliefs
and practices of workers of coffee
plantations, bringing out the dreams of
the marginalised native Red Indians of
America to escape to the United States.
My Mother by the Italian director Nanni
Moretti, etches out the conflicts in the
subjectivity of women within and outside
the family space through the depiction of
the life of a female director. Diep Hoang
Nguyen's sly, sensual, politically probing
debut film Flapping in the Middle of
NowhereisthestoryofHuyenfailinginher
attempts to abort the child due to several
reasons. The woman tries to relieve her
body from the hegemonic patriarchal
gaze of the director, her lover and the
viewers. Our Little Sister, a Japanese film
by Hirokazu Kore-eda, revolves around
the unenthusiastic and monotonous
life of three sisters. The Second Mother,
written and directed by Anna Muylaert,
portrays how the appearance of the
estranged daughter, Jessica, of a hard-
working live-in housekeeper Val makes
the unspoken class barriers that exist
within the home disarrayed. The
Summer of Sangailė, 2015 Lithuanian
film by Alantė Kavaitė , is a saga of love
that bravely depicts how love helps the
introvert protagonist to actualize her
dreams, thereby concreting the relation
based on mutual understanding. Kill Me
Please, the feature debut of Brazil’s Anita
Rocha da Silveira, has a fifteen year old
girl Bia who starts to do anything to make
sure she's alive after an encounter with
death when a wave of murderers plague
her city.
Each of these films tries to portray
the diversity of the lives of women. These
films reassert the difficulties in actualizing
through the medium of film the intensity
of women’s thoughts and feelings and
thus the fact that an adaptation of
woman’s life to film texts could rewrite
the history of films.

3. There is a wide range of similarity in the cultural interaction
between India and Peru due to their colonial experiences”,
says Juan Daniel F. Molero, the young director of Videofilia from
Peru. He was speaking in the Meet the Director programme
held in Tagore Theatre compound in connection with IFFK 2015.
Bollywood movies are available even in the small streets of
Peru thanks to piracy. Movies cross the oceans and shorten the
distance between countries. He added that complete freedom
in expressing ideas would be available to artists only when the
film is produced with economic independence.
“I directed the movie to bring my own ideologies and
perspective to the social scenario”, said the Iranian film director
Hadi Mohaghegh. Emotions play a stronger role than words in
stating ideas; that's why I use very few dialogues in my movies.
The ambience here in IFFK adds to the impact in the enjoyment
of movies. “Film made for others will be made by other’s
money,” he made a slight taunt.
DirectorofIraq/KurdishmovieTheAshofFace,Mr.Shakhwan
Idrees opined that one cannot change the society or politics
with a movie, but they can represent the truth through them.
He also said that language of cinema changes according to the
perspective of the director; but reiterated that the underlying
emotions are, moreover, the same. The Iraqi-Iranian War was
just a background in the movie, in which the lay folk are the real
victims as is usual, and that is what his film portrayed.
For a director his greatest satisfaction is when his movie
reaches the audience, said the French film maker Laurent
Lariviere. French National centre for cinematography helped
youngsters to make films, he added. The session was really
lively as the directors from varied cultures made this platform a
converging ground of discourses. Balu Kiriyath, the Malayalam
film director moderated the session.
Ambience In IFFK Boosts The Impact In The Enjoyment Of Movies
“
MEET THE DIRECTOR
Indian cinema is not only spicy and feel-
good-happy ending story line movies
but has a glory of dealing with real life in
different regions, marginal and different
cultures of the sub-continent. Diversity
in unity is the beauty of Indian culture.
Indian Cinema in IFFK 2015 represents
this with magnitude and aesthetic
excellence. Out of seven movies under
this section, seven in varying forms and
contents are selected for screening.
Debesh Chatterjee’s ‘Natoker Moto
(Like a Play)’ will be presented from the
LIKE A PLAY,
IN CORE
A CINEMA
section on screen
to the participants
of this festival. The
film has slotted the
life of a renowned
Bengali theatre
artist Late Kheya
Chakraborty’s act,
conflict and her
struggles in debut
film of Director
Debesh. Debesh
said, ‘It is a magical
inspiration to me
when I learnt from my long research on
her artistic life and mysterious death.’
The journey of a woman as a theatre
artist is always a multi-dimensional and
conflicting experience in the cultural
space. According to Debesh, ‘It is
especially so when she is of maverick
capability and of excellence beyond her
time. Natoker Moto, aspiring to highlight
the struggles of a woman as an artist,
depicted the Kolkata’s social-cultural
circuit spanning between 1950s-1970s
that fails to overcome even after two
decades of globalization.’ The film
proceeds through an investigation of
sudden demise of Kheya and gets into
precise details of the artist’s ceaseless
conflict life that Kheya confronts at the
paradigm of patriarchal domination.
Detailing on movie, Debesh said that the
precise details of her life exposed the
obstruction, understanding the strength
of creative aspirations, and highlighting
on the delightful journey of an artistic
soul that unfortunately got cut short.
There are three spaces in this film:
real to theatrical space, real to pure
theatre and pure theatre to real space.
Debesh elaborates the film theatrically
and said that we have these spaces in
our daily life about which usually we
are never attentive. “What I tried to
articulate in this non-linear film extends
over acting, dialogue, sound, lighting
and colour-tone.” At the outset, the
film starts with the metaphoric death
which is followed by the process of
narrative-investigative art and ends with
metaphysical infiniteness beyond reality.
Prabash Mukhopadhyay |
06th
December 20153

4. Experiments galore are in store for the
20th edition of IFFK. One of the most
appealing attractions to the lovers of
Indian Classic films would be the package
of milestones in the Indian film history
under the category ‘Restored Classics’.
The technological advancement in the
field of film development and restoration
brought in innovations to revive the films
that were on the verge of irretrievable
deterioration. Restored classics by
John Abraham, Mrinal Sen, Adoor
Gopalakrishnan, M S Sathyu and Jabbar
Patel are screened in this category.
Garam Hava, directed in 1973 by M
S Sathyu, is a film that deals with the
controversial elements revolving around
the human causalities resulting from
the partition of India. The film, made
with a shoe-string budget of Rs.10 lakh,
was restored at 10 times that cost. The
restoration process took over a year
and a half as the negative was badly
damaged. Over two lakh frames have
been individually treated and the original
negative restored. The sound quality has
been digitally enhanced at a studio in
Los Angeles. Jait Re Jait, a 1977 Marathi
film, directed by Jabbar Patel depicts the
real life of Thakkar tribe and its rituals
and cultural traditions. This film was also
restored by National Film Archive of India
(NFAI). Revealing the truths of inner lives
is the main factor that placed Mrinal
Sen’s Oka Oori Katha (1977) among the
FromthefreezerofTime;
To the
best of the Indian films. This, too, will be
screened under the section.
Amma Ariyan (1986) was made by
John Abraham which is about the journey
that Purushan undertakes to inform the
death of his friend to his mother. As
the negative of the film made in black
and white went missing from Chitranjali
Studio, National Film Archive of India in
Pune had to work to digitalize it from
the 35mm print of the movie in their
possession. Mathilukal (1989), directed
by Adoor Gopalakrishnan, is also being
screened in this IIFK as a part of Restored
Classics.
Amala T Chacko |
Better infrastructure, films and parti-
cipants together constitute the film
festivalsaysMaltiSahai,formerdirectorof
International Film Festival of India, while
speaking in the inaugural ceremony of
Meet the Press conducted in connection
with the IFFK 20th edition. IFFK had
made a tremendous advancement in
the field of infrastructure she added
while remarking about the newly air
conditioned theatre in Nishagandhi
Auditorium. Creative criticisms are
inevitable in the growth of film festivals,
opined B.Unnikrishnan, President FEFKA.
T Rajeevnath, Chalachitra Academy
Chairman, was also present.
meetTHEPress
Warmth of
the Showcase
4

5. Jugalbandi performed at Bharathbhavan auditorium.
Carnatic music & Kathakali music fusion by Ayamkudy Many and Kalamandalam K S Vinod.
Noted film editor Andrew Bird gave
an enlightening session on the
topic ‘Sound of Cinema’ at the ‘Master
Class’- an interactive session conducted
by IFFK 2015. “Best part of my work is
that I get to re-design a film according
to the creative use of sound”, says the
maestro. In the one hour long session,
with the help of video clips from various
films, he explained how sound made all
the difference in films by supplementing
the right content. He also highlighted the
need to provide real background sound
to situations, which adds quality to the
visual content. The veteran also spoke
about sound being used as a powerful
emotional tool by saying, “Emotional use
of music is always more effective than its
illustrative use”. While interacting with
theaudiencehecommentedthatdubbing
“absolutely kills a film”, a method widely
used in the Indian film industry.
Andrew Bird has always tried to play
with sounds in an unconventional way.
The brilliant use of sound to elevate the
visual quality is visible in the road movie
Im Juli directed by Fatih Akin, with whom
he frequently collaborates. The British-
born film editor has worked on 14 films
and various documentaries, mostly
German. They include The Future, Soul
Kitchen, The Edge of Heaven, Love and
Other Crimes, Comrades in Dreams, Head
On, Cowboy and Angels, Solina, Absolute
Giganten and Kurz and Schmerzols.
Jayasree C |
Dubbing
absolutely
kills a film
Andrew Bird
06th
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.
6
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Daily Bulletin Team |

7. PRESS MEET
12PM | Tagore Theatre
OPEN FORUM
3 PM | Tagore Theatre
MEET THE DIRECTOR
3 PM | Tagore Theatre
PANEL DISCUSSION
4pm| Executive Launch, Mascot Hotel
Film Festival in India - Challenge
and Opportunities
ARAVINDAN MEMORIAL
LECTURE - on "Global
Audience"
5pm| Tagore Theatre
MS Claire Dobbin
MASTER CLASS
on Screen play
3pm-4pm | Executive Launch, Mascot
Hotel
Mr. Martin Sherman
EVENTS
TODAY
"it's not about a bank
heist; it is a bank heist",
says Sebastian Schipper,
director of Victoria, a
one shot, single take film lasting two
hours and eighteen minutes (DoP Sturla
Brandth Grøvlen). A similar precedent
will be Aleksandr Sokurov’s Russian Ark
(2002), which is considered the first
unedited single-take full length film
that takes a spectacular trip through
Petersburg’s Hermitage Museum in one
elaborately choreographed, flowing
movement. What does this fascination
for long, single takes mean today?
From the beginnings there is the
montage vs mise en scene debate,
where film thinkers like Andre Bazin
went eloquent about the ontology of
cinematic image, the truthfulness to
space and time, etc. Since then, many
film ‘fundamentalists’ have adulated
the tracking shots and long takes as a
kind of ‘ur-cinema’, something unique
and sublime. It began as a sort of
confrontation between the advocates
of montage, who believed in building
cinematic narrative ‘brick by brick’
through shots or by bringing shots into
conflict with one another, with those who
considered it a sacrilege to manipulate
the integrity of Reality; they wanted to
‘let the world unravel its truth by itself’.
Now this debate has taken another
turn, with coming of the digital turn in
cinema, where any kind of image can be
created through ‘CGI’, and the resultant
‘deontologisation of the cinematic
image’. Today digital cinema considers
itself capable of an ‘immaculate realism’
that has no parallel in its history.
In a way, filmmakers like Sebastian
Schipper and Sokurov are trying to
reassert the ontology of the cinematic
image and to reaffirming, reclaiming the
faith in it. That’s why Sokurov in his film
Francofonia pleads with Tolstoy to wake
up, while showing the black and white
photograph of the aged author lying on
his cot. One gets the same vibes listening
to Schipper in one of his interviews: “I've
come around more and more to maybe
one of the most known entries to a diary
ever, from Kafka. It said: "Went to the
cinema. Cried." And I just thought about
that the other day. Maybe we kind of
underestimate that that's really what
it's about, why we watch films, to come
into contact with something very strong,
sometimes dark and maybe sometimes
scary, and maybe a movie enables you to
face some stuff, not consciously.”
venkitycs@gmail.com
Ur-Cinema and its Priests
CS Venkiteswaran |
"I have been participating in the festival for the past 19 years.
Comparing to the other festivals women delegates who come
here wear their own identity. IFFK remains the most popular
among the other festival which i have participated."
- Jothi Narayanan, Govt Employee
Delegate's Column
"Unlike the Cannes Film festival I am getting a chance
to see more than 4 films a day. This festival gave me the
opportunity to watch a vaibrant variety of film."
- Hans Ulrich Kohli,Businessman
Time: 6.30 pm
Jermal
Indonesia / 2009
Colour / 110min
Time: 7.00pm to 8.00 pm
Kerala kalamandalam
Film Screening
@ Manaveeyam Veedhi
Kathakali
@ Tagore Theatre premises
06th
December 20157

8. Partners Technical Partners
Ajay Saga
8
Why is it that the words "based on
true story" add a whole new level
of intrigue to a film? The cinema is a great
place to unravel and take a break from
real life, especially when we know what
is shown to us is fiction scenarios and
dreamt up characters. But sometimes
telling the truth is more compelling
and hard hitting than pure fiction.
When such fascinating life stories meet
talented directors and talents, we get
some beautifully tailored movies which
are hard to ignore. 20th International
Film Festival of Kerala has scheduled
a special slot “Based on True Story” to
acknowledge such masterpieces.
The first-ever film shot entirely in
Vanuatu, director Martin Butler tells an
emotionally engaging story of forbidden
love through Tanna. The terrific cast
and compelling message of The Truth
is enough to capture viewer’s attention
for James Vanderbilt's directorial debut.
Offering a unique look at modern fears
and our fascination with film, Crystal
Moselle’s The Wolf Pack is a fascinating
and ultimately haunting urban fable. Led
by an outstanding performance from Cliff
Curtis, James Napier Robertson’s The
DarkHorsetacklescomplexthemeswitha
richly layered, unpredictable, and deeply
affecting story. Jeppe Ronde's potent,
pain-ridden drama Bridgend examines
the real-life spate of teen suicides in the
eponymous Welsh county. The Polish film
Carte Blanche, by Jacek Lusinski, is a feel-
good movie about a high school history
teacher and his captivating life. The
famous Russian playwright and master of
the short story Anton Chekhov is brought
to an expressive life in Rene Feret's biopic
Anton Chekhov — 1890.
Jayasree C |
THE CHARACTERS
IN THIS MOVIE ARE
NOT FICTITIOUS!