1. It’s with immense pleasure that I’m jotting down these words of
thanks and adieu. As IFFK is coming of age by the 20th
edition,
it is entering a totally new phase at this historic juncture. The
selfless dedication of activists and film enthusiasts dedicated
unrewarded for taking IFFK to the present heights should not
go unremembered. As the saying goes, words fail to express
themselves absolutely when heart grips you; especially during
the moments of parting. Considering the scope and magnitude
that IFFK has acquired by this edition on multiple dimensions,
even the last grain of negativity, if at all there is any, simply
gets evaporated into the thinny air. The huge success of this
edition, inspite of all odd factors, makes me humbler and more
responsible. The highly disciplined and cinematically-conscious
audience deserves a hat off for their love and enthusiasm for
films.
Let me thank the stimulating support extended by the
state government to take this event to its superlative levels. Sri
Oommen Chandy, Hon. Chief Minister, needs a special mention
hereforallthewhole-heartedsupportheofferedforthissuccess.
Sri Thiruvanchoor Radhakrishnan, Hon. Minister for cinema,
had been functioning as the prime energizer even behind the
minutest detail of the fest. Let me express my sincere gratitude
to the great effort and wisdom put in by Shri.Shaji N.Karun for
the success of this festival. I thankfully remember Shri.Rajeev
Nath, Chairman KSCA, and all General Council and Executive
committee members, the members of different committees,
volunteers and others who have concertedly put their hands
and hearts to materialize the event in the present form. I would
like to specially mention the hard work of my team who toiled
tough, day and night for the last five months to make this
event a reality. I thank the curators and programmers whose
expertise well reflects on the film packages here; printing and
publishing wing of IFFK, the hospitality team, the media cell,
the daily bulletin team and the delegate cell. I wish to thank
all the media, MD Niche and the other promotional partners
for their relentless support. Let me thank them all once again,
wholeheartedly.
As mentioned in the opening, the hyper energy brought
by the delegates to the festival needs to be specially thanked.
Words are powerless to express my
heartiest gratitude, cutting across
hierarchies, to all the ones who helped
in making this grand event a colossal
success. Let us march forward to better
festivals in coming years.
With Gratitude,
From theHeart of IFFK
S. Rajendran Nair,
Secretary, Kerala State Chalachitra
Academy
2. 2
Michel Franco's Chronic presents
human bodies devoid of all their
desiresandglamour.Nudebodiesceaseto
be objects of voyeuristic pleasure. Instead
they arouse a feeling of compassion
within the viewers who can experience
the essential meaninglessness of human
life. David, the protagonist of the movie is
a male nurse who works with terminally
ill patients. He is very much dedicated
to his profession. He spends much of his
time caring for their needs. His patients
are satisfied with the way he treats them.
Despite his dedicated service to them
they die one after the other causing pain
to David. Outside his professional life,
David is a much reserved and ineffectual
personality. Spending sometime on
Body And
Its Angsts
Shibu Harisree |
treadmill and doing regular jogging are
ways by which he gives some relief to
his tormented self. He was hit by a car
while he was taking a careless jogging
along the busy highway. His sudden and
unexpected death itself is a testament of
how disturbed a being he was beneath
the veneer of his composite Personality.
Death is portrayed as the logical and
natural conclusion of the diseased body,
here. Contrary to the usual cinematic
representation of human body as a source
of pleasure and desire, Chronic depicts
body as helpless and weak. We will be
stunned to see the unexpected death
of the protagonist on the road. Death is
portrayed in this movie as an entity that
is already everywhere. Chronic is the
stark reminder of the meaninglessness of
life. The mis en scene shots throughout
the movie try to capture this philosophic
undertone. The movie doesn't carry the
burden of a full-fledged fiction. Instead
it communicates the essential human
plight through carefully designed scenes.
That may be the reason why the movie
received best screenplay award at Cannes
Film Festival.
Satarupa Sanyal, a serious Bengali
filmmaker and an extreme feminist,
has directed short films, teles, docus,
awareness and feature films for more
than half-century. She is an extreme critic
of patriarchy and has claimed its disease
as to it "a woman is nothing more than
a reproductive tool" and "commodity
goods." She said, 'It is worsened when a
person in the system is unaware of his or
her gender identity.'
Opalaa... The Journey Of A Woman
is Satarupa's latest film slotted in Indian
Cinema section of IFFK 2015. She narrates
by camera as Opalaa is married into a rich
Bengali family; but on the night after the
end of marriage the night to her turns
into a shocking nightmare when she
hears from Sham, her husband that he
is dedicated to his Lord and there would
never be any sexual relationship between
them. The narration passes through
climax, by the time Opalaa discovers that
Shyam is sexually involved with the family
priest, Ananta which is unwarranted and
panicking to her. Twenty five years after
the demise of Shyam, one day Ananta
came to Opalaa asking for shelter.
She insults him and denies his appeal.
Ananta, once respected by all, gets
shock and dies that night. In the anti-
climax, Satarupa sketches, on the same
day Opalaa discovers something new
about Atanu - changes her mind and her
encircled world.
The movie was rated by the viewers
two stars in other festivals.
Prabash Mukhopadhyay |
Gender Identity Crisis
Is A Non-Curable Soar
Of Patriarchy
3. 11th
December 20153
Considered by many to be the ‘elder
statesman’ of Iranian Cinema, Dariush
Mehrjui’s contribution to world films can
be dated back to the reign of the Shah.
An adoring student of Sathyajith Ray, the
veteran director opened up about life
and cinema in Iran while conversing with
Daily Bulletin.
About the LTA Award…
IFFK decided that I deserve LTA award
this year and screened all my movies.
For this I am honoured. The fest has
an exceptional crowd who are greatly
intelligent about the cinema world. So
I am elated to be a recipient of such a
prestigious prize.
Gaav and birth of Iranian New
Wave…
Gaav was one of the movies which
were directly responsible for initiating
the Iranian cinematic renaissance. Till
that time, new thoughts or movements
in Cinema world were not welcomed. But
Gaav had some fresh perspectives and
ingredients which attracted the public
at that time. This trend still continues,
even after revolution. After watching the
movie, Ayatollah Khomeini said: “We are
not against cinema, but the corruption of
cinema”. So Gaav opened a road for film
makers like us to understand what kind of
film could Islamic Government tolerate,
which as you see, continues…
Iranian Revolution and Cinema…
The revolution had brought
upon many changes in Iran. I had
enthusiastically taken part in the
revolution, also. But sad part was that
there were no real or sustainable changes
I Will Not Flee
From My Country
because the mentality of Iranian people
still could not tolerate films above their
own consciousness or awareness. When
something intelligent or affective is
shown, they fear that it might cause
intolerance and goes on to ban them.
The School We Went To was released
after the revolution, but still suffered 11
years of banning. Contrary to the pre-
revolutionary attitude of the censors
which was keen about political and social
content, post-revolution focused on
religious, sexual and emotional issues. I
never show a man and woman together
in a bedroom because even then the
women would be wearing a scarf and it
would look ridiculous. Sex is still an issue
in the Orientals. I think in India also you
don’t show intimate scenes to escape
censoring.
Women in my movies…
After revolution, my attitude in
filmmaking changed and I focused more
on middle class. At that time I made
series of movies about women and
their oppression. In a male dominating
society, they were the ones who suffered
the most, not just physically, but also
mentally. Sara, Leila, Baanoo,
Pari were all women-centric
movies. But now there are
more and more movies
being made which
show women as
strong individuals
and revolting
against unjust
situations,
which is great.
Iranian Filmmakers now…
Film makers like Bahman Ghobadi,
Shahram Alidi, Anvari, and so on make
great movies by taking many risks. But
many of the new directors couldn’t
stand the situation in Iran and leave
the country to make movies outside.
Even I was abroad for a while, but I kept
coming back. Among the lot, I like Asghar
Farhadi’s films. He has a bright future
ahead if he continues this way. I would
say he is the one who follows my trend in
film making.
Jayasree C |
4. 4
The 20th
edition of IFFK
was one of the most
well-attendedoffestivals
in recent times; the
number of delegates just
swelled to fill the additional 2500 seats
made available this year. The presence
of youth and students in large numbers,
created an atmosphere that was
charged with enthusiasm and passion
for cinema. The long, patient queues,
the informal yet heated discussions and
gatherings, the spontaneous expressions
of protest and joy at the venues, all
these were always very much part of it.
The increasing participation of women –
most probably IFFK holds the record for
female participation among Indian film
festivals – has also been very significant
and most welcome. One seldom finds
such female participation – especially of
students - in any other cultural event in
the State. There were many first-timers
and many of them will become festival-
regulars in the coming years. But even
for those who are not able to manage it
during the next editions, the experience
of watching films this time must have
been a mind-opener. These films
must have taken them on a journey to
distant landscapes, cultures, cityscapes,
customs and traditions of far-away
places and people.
Essentially, this journey through films is
also an internal one: where the viewer
him/herself invariably gets lost in the
narratives, and making connections
with certain faces, instances, visuals,
dialogues or moments in inexplicable
and mysterious ways. Most importantly,
it also took the viewer through the life
struggles, dreams, frustrations and
elations of people around the globe.
These journeys, in a way, enrich us
within and also provide perspectives
and understandings about our own lives
and dilemmas, from very enchanting
and sometimes strange angles. It is this
journey beyond the confines, or prison
houses of our self, that constitute the
lure of cinema and occasions like this.
Hope these films will continue to live
and grow within us..
Adieu till we meet again at IFFK 2016...
venkitycs@gmail.com
Adieu, till we meet next year...
CS Venkiteswaran |
meetTHEPress
“The International Film Festival of Kerala (IFFK) stands ahead
of many international festivals like Venice, Busan, and Berlin in
terms of organisation, quality of films screened and the crowd
present”, said the overwhelmed Nepali director Min Bahadur
Bham.
He was speaking at a press conference, along with the
German Cinematographer Lutz Reteimeir and Philippine director
June Robles Lana on the penultimate day of the international fest
held at the Tagore theatre premises.
The audience poll for 20th
edition of International Film
Festival of Kerala (IFFK), 2015 started yesterday. The
delegates and media can vote for their favourite films
screened in ‘Competition’ category either through their
online IFFK log-in account till 2 pm today or via SMS. The
format for SMS voting will be intimated by the festival
authorities in the registered mobile numbers.
The delegates can also rate the movies screened in
‘World Cinema’ category with their online log-in account.
The ‘Delegate Cell’ at Tagore Theatre premises will help
the delegates with voting.
IFFK Ahead Of The Film Festivals Of
Venice, Busan And Berlin
Min Bahadur Bham
5. 11th
December 20155
K RamachandraBabu handing over the first copy of 'A Vincent
Enna Aloysius Vincent' to actor Madhu
Aryadan Shoukath handing over the first copy of 'Yusufali Kechery'
to Shaji Kailas
Academy Chairman T Rajeevnath handing over the first copy of
'Vishwasangeetham' to Director KR Mohanan
Street magic performed by Shamsudheen
Cherpulassery, organized by Kerala Sangeetha
Nataka Academy.
IFFK paid homage, releasing a book, to three legendary
figures of Indian Cinema - A Vincent, Yusufali Kechery and M S
Viswanathan by on them.
A Vincent enna Vincent, penned by Prashanth Mithran, was
released by the veteran actor Madhu. “Vincent master fostered
the actor and director in me. I got the rare opportunity to be
associated with him for his movies. The lessons learned from
him inspired me for the debut directorial venture,” said Madhu.
The book on the evocative lyricist Yusufali Kechery, written
by T P Shasthamangalam, was released by Aryadan Shoukath.
Popular director Shaji Kailas received the first copy of the book.
The author explained his research on the book
The festival assemblage also paid homage to the veteran
musician M S Viswanathan by releasing a book named
Viswasangeetham, edited by M D Manoj. Kerala State
Chalachitra Academy chairman T Rajeev Nath handed over the
first copy to noted filmmaker K R Mohanan.
Homage Paid To Veterans Of Industry
The 20th
edition of IFFK has
benefitted from the installation of
eight DCI-certified Qube XPI Digital
Cinema servers, which has improved
viewer experience for delegates.
Real Image Media Technologies
(RIMT), the IFFK’s technical partner,
also performs quality checks prior to
the screenings, ensuring the films play
in correct video and audio formats and
subtitles. RIMT also manages digital
license keys for the entire festival. A
RIMT team of 20 engineers along with
project co-ordinators are working
around the clock to ensure screenings
take place as scheduled and that
screening quality is at a premium.
“Cinema is an integral part of our
current and emerging socio-cultural fabric.
RealImageandQubeCinema’sassociation
IFFK Embraces
New Tech
with the IFFK is an asset in sustaining this
trend,” said Shaji N Karun, chairman of the
advisory committee, IFFK 2015.
“This association represents RIMT’s
commitment to bringing digital cinema
to the larger audience. Therefore, to
me, there is no IFFK with meaningful
cinema and technology, without RIMT’s
association.” Qube Cinema, a key player
in film and broadcast technology in
India for nearly 30 years, has worked
to create seamless Digital Cinema
environments for exhibitors, filmmakers
and postproduction companies with
technologies that are innovative, flexible
and cost-effective.
7. 11th
December 20157
Thesunsetsthatfilledwithiridescentcoloursofjoyandheated
discussions on various aspects of film and life are coming
to an end while the curtain falls on the 20th edition of IFFK.
Commemorating the achievements of past 19 years of eventful
journey, the 20th edition of IFFK
brings an everlasting memory
in the mind of every delegate.
Accommodating above 12,000
delegates, this time the festival
offered a package of more than
180 films under 14 categories.
The installations of Chayakkada
and Kaalavandi (bullock cart)
gave a tinge of memory of the good old days of the festivals
attracting the delegates.
Nedumudi Venu, the veteran actor in Malayalam Cinema,
appreciated the organisational perfection
and selection of the films. “The
reservation system newly introduced has
helped to manage the crowd”, says the
actor. The 20th edition of IFFK got a new
dimension through its organisational
management. “This time the issues
betweentheorganisersandthedelegates
are few. Screening of good films and
introduction of new venues attracted
more delegates and gave space
for sharing their views,” says
the Award Winning Malayalam
film director, Sudevan. For
Sara Andriea, who is living in
Thiruvananthapuram for more
than three years, IFFK is an
opportunity to meet her friends
from Italy and watch her favourite
films. “Comparing to other editions, this
time I felt a crowd-free environment
and I got the chance to watch the
Italian films”, she says. Renowned
cinematographer Azhagappan opined
that in IFFK, the international movies
are getting larger viewership compared
to the regional movies. “The movies in
20th IFFK”, he said, “have maintained
their quality on an above-average
level”. Hassan Nazer, the director
of Utopia was surprised to see the
passion of the people to watch
films in IFFK.
Amala T Chacko |
IFFK 2015
World Cinema attracts Larger Viewership
Nedumudi Venu
Sara Andriea
Hassan Nazer
Sudevan
Azhagappan
aeb‑mf¯‑ns‑e ]‑pX‑pXea‑pd Ne
¨‑n{‑X‑w AYh‑m ‑y‑q Pt‑dj³
k‑n‑na Bc‑ps‑S k‑rj‑vS‑nb‑mW‑v?
t‑Icf¯‑ns‑e -Kc þAÀ² K-c-§Ä
t‑I{‑µ‑o-I-c‑n¨‑v hfÀ¶‑p-h¶ k‑n‑na‑m
h‑yhk‑mb¯‑ns‑‑m¸‑w ‑ne b‑pd¸‑n¨ Ne-
¨‑n{‑X k‑wk‑vI‑m-c-a‑mW‑v ‑y‑qPdt‑j³.
‑mKc‑nI a[‑yhÀK¯‑ns‑â A`‑n-c‑p-N‑n-IÄ‑,
I‑mg‑vN i‑oe-§Ä F¶‑n-h-b‑n-t‑e¡‑v k‑n‑na
N‑pc‑p-§‑p-¶‑p. K-c-¯‑ns‑e b‑ph‑m-¡Ä¡‑p-
t‑h-ï‑n-b‑mW‑v‑ X§Ä N‑n{‑X-§Ä s‑N¿‑p-¶-
s‑X¶‑v FÃ‑m k‑wh‑n-[‑m-b-Ic‑p‑w Ah-I‑m-i-
s‑¸-«‑p-X‑p-S-§‑n. b‑ph‑m-¡Ä, Kc‑w F¶‑o
cï‑nS-§-f‑n-t‑e¡‑v k‑n‑na t‑I{‑µ‑o-I-c‑n-¡‑p-
¶‑p. {‑]t‑ab‑w -a‑p-XÂ I‑mg‑vN-¡‑mÀ-hs‑c
FÃ‑m t‑aJ-e-b‑ne‑p‑w C‑u ]‑pX‑pXea‑pd
t‑_‑m[‑w {‑]X‑n-^-e‑n-¨‑p. C‑u ]‑pX‑pXea‑pd
N‑n{‑X§Ä Gä‑pa‑p«‑nbX‑v ‑neh‑ne‑pï‑m
b‑nc‑p¶ X‑mct‑I{‑µ‑oI‑rXa‑mb Ne¨‑n{‑X
h‑yhk‑mbt‑¯‑mS‑mW‑v. -K-c AÀ-²
-K-c-§Ä t‑I-{‑µ‑o-I-c‑n-¨‑v c‑q]‑w-s‑I‑m-ï
^‑m³-k‑v A-t‑k‑m-k‑n-t‑b-j-‑p-I-f‑m-b‑n-c‑p-
¶‑p X‑mc t‑I{‑µ‑oI‑rX k‑n‑nab‑ps‑S t‑h‑m-«‑v
_‑m-¦‑v. X‑m-c-§-f‑p-s‑S ^‑m³-k‑pI-s‑f X‑r-
]‑v-X‑n-s‑¸-S‑p-¯‑p-¶ ‑n-ch-[‑n N‑n-{‑X-§Ä
C-¡‑me-¯‑v ]‑p-d-¯‑p-h¶‑p. AÀ° c‑m{‑X‑n-
b‑ne‑p‑w s‑hf‑p-¸‑m³I‑m-e¯‑p‑w N‑n{‑X-§Ä
d‑ne‑ok‑v s‑Nb‑vX‑v ^‑m³k‑p-Is‑f BIÀj‑n-
¡‑p-I-b‑m-b‑n-c‑p¶‑p a‑mÀ¡-ä‑n‑wK‑v X{‑´‑w.
h‑yhk‑mb‑w ]‑qÀWa‑mb‑p‑w X‑mc§f‑nt‑e¡‑v
t‑I{‑µ‑oIc‑n¨‑p. k‑n‑na‑mh‑n]W‑nb‑ps‑S ‑ne
‑nÂ]‑p‑w Pb]c‑mPb§f‑p‑w X‑mc§s‑f
B{‑ib‑n¨‑mb‑n. ‑nÀa‑mW‑w‑, h‑nXcW‑w‑,
{‑]ZÀi i‑r‑wJe‑, k‑mäs‑s‑eä‑v‑, ]
IÀ¸hI‑mi§Ä F¶‑n§s‑ Ne¨‑n{‑X
h‑yhk‑mb ka‑p¨b‑‑w X‑mct‑I{‑µ‑nXa‑mb‑n.
Ie F¶ ‑neb‑n k‑wh‑n[‑mbIÀ¡‑p‑w
Fg‑p¯‑pI‑mÀ¡‑p‑w aä‑v k‑mt‑¦X‑nh‑n
ZK‑v[À¡‑pa‑pï‑mb‑nc‑p¶ t‑aÂs‑s‑¡
j‑vSa‑mb‑n. X‑mcþ‑mbI t‑I{‑µ‑nXa‑mb
aeb‑mf k‑n‑na‑m h‑yhk‑mbþ Ie‑mc‑q]
s‑¯b‑mW‑v bY‑mÀ°¯‑n ‑y‑q
Pt‑dj³ k‑n‑na A«‑nad‑n¨X‑v. AX‑v
X‑mcs‑¯ h‑yhk‑mb t‑I{‑µ¯‑n ‑n¶‑v
‑n¶‑v ]‑pd¯‑m¡‑n. ‑mbI‑v ]Ic‑w {‑]
t‑abh‑p‑w BJ‑y‑mh‑p‑w t‑I{‑µØ‑m¯‑v
h¶‑p. F¶‑m t‑e‑mI k‑n‑nab‑nÂ
hXc‑wK‑w F¶‑ph‑nf‑n¡‑mh‑p¶ I‑mg‑vN‑m
h‑n¹t‑¯‑mt‑S‑m‑, C´‑y³ hXc‑wK‑w‑,
BÀS‑v l‑uk‑v k‑n‑naIÄ‑, c‑mj‑v{‑S‑ob
k‑n‑naIÄ‑, a‑q¶‑m‑wt‑e‑mIk‑n‑naIÄ
X‑pS§‑nb Z‑ri‑yIe‑m]c‑nW‑ma Nc‑n
{‑Xt‑¯‑mt‑S‑m I®‑nt‑Nc‑p¶‑pt‑ï‑m ae
b‑mf ]‑pX‑pXea‑pd Ne¨‑n{‑X§Ä?
BJ‑y‑ms‑¯ Bh‑nj‑vI‑mcs‑¯ I‑mg‑vN
s‑b¯s‑¶ ]‑pÀ‑nÀ½‑n¡‑p¶ Ie‑m
Ie‑m]a‑mb‑n ‑y‑q Pt‑dj³ k‑n‑nas‑b
I‑mW‑m‑mh‑pt‑a‑m? At‑X‑m As‑X‑mc‑p
h‑n]W‑n {‑]X‑n`‑mka‑mb‑nc‑pt‑¶‑m? AXd‑n
bWs‑a¦‑n k‑n‑nab‑ps‑S Ie‑m
Nc‑n{‑X¯‑n Fh‑ns‑Sb‑mW‑v ‑y‑q P
t‑dj³ k‑n‑naIf‑ps‑S Ø‑m‑w F¶‑p
Is‑ït¯−nbncn¡p¶p.
sI.]n. PbIpamÀ |
X‑mc-{‑]-`‑m-h-s‑¯ ad‑n-I-S-¡‑p¶ ‑y‑q P-t‑d-j³ k‑n‑n-a-IÄ
8. 8
This is not an ending, but the
blossomingofadream.Foranyfestival
lover, these are going to be the moments
of anguish, not of farewell, but of the
reunions to come. “The whole aspect
of cinema and film festivals should be a
moment to come together and celebrate
art and humanity. It would be a shame
if there was such a divide.” says Keanu
Reaves; and definitely IFFK fulfils it in an
absolutely unique way, especially as the
time is growing all the more demanding.
20th
edition of IFFK has proved its own
relevance on all these grounds.
IFFK has crossed the milestone of
two decades and acquired its merit and
character and has carved itself a niche
in the calendar of world Film Festivals.
From the treasure of the experience
of the two decades, it is time that we
started planning and discussing for the
coming decade with hopes and dreams
befitting that. IFFK during the next
decade has to evolve a face confronting
and accommodating all the challenges
and prospectus the time ahead keeps in
store for it.
The next decade is to be a decade of
constructive change for IFFK. It should
creatively change itself into a gate way
of world cinema. We have to convert the
Fest into a global platform, so that films
would be submitted for IFFK without
being invited by directors from across
the world. As Shaji N Karun, Director
IFFK 2015, suggested, IFFK is moulding
itself as a sharing hub of World cinema,
may be cooperating with festivals like
the Dubai Film Fest in immediate future.
It has to develop a market where all the
international filmmakers will be ready
present their movies.
It’s time now to call it a day, so that we
can all return to IFFK 2016 with mustered
hopes. The vitality and vivacity that we
garnered from the 20th
edition IFFK would
be a source for the times to come. Adieu,
for the time being, to meet in the days to
come and for the festivals ahead.
Bye For Now, Will Meet Next Time....
Daily Bulletin Team |
MASTER CLASS
on Documentary as an art
3pm - 4pm | Executive Lounge,
Mascot Hotel
Nathali David
Closing Ceremony
6.00 PM
Nishagandhi Auditorium
EVENTS TODAY
Partners Technical Partners
Ajay Saga
