Documentary Film festival in Bangalore

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Paramvir Singh
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Documentary Film festival in Bangalore

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National Gallery for Modern Art (NGMA)

in collaboration with
India Foundation for the Arts
present
IFA FILM FESTIVAL
January 2- February 20, 2011

(All documentary films will have English subtitle)
Venue: National Gallery for Modern Art (NGMA)
Manikyavelu Mansion
49 Palace Road, Bengaluru 560 052
Contact: 080 2234 2338


January 2, 2011, Sunday, 3 pm
BISHAR BLUES, 1 Hour 16 minutes
By Amitabh Chakraborty

It is a 90-minute film based on the fakirs of Bengal, exploring their
music and their deeply spiritual everyday life as a living practice of
radical syncretism. In this film, Amitabh Chakroborty talks about music
as an integral part of their mythology and that music enshrines and
expresses the philosophy of Man. This film has won the National Award
for Best Non-fiction Film, Best Editing and Best Audiography.

January 8, 2011, Saturday, 3 pm

THE OTHER SONG, 2 Hours
By Saba Dewan


In 1935, Rasoolan bai, the well known singer from Varanasi, recorded
for the Gramaphone a thumri that she would never sing again- ‘Lagat job
anwa ma chot, phool gendwa na maar’ (My breasts are wonded, don’t throw
flowers at me). A variation of her more famous song - ‘Lagat Karejwa
ma chot, phool gendwa na maar’ ( My heart is wounded, don’t throw
flowers at me), the 1935 recording, never to be repeated, faded from
public memory and eventually got lost. More than seventy years later
the film travels through Varanasi, Lucknow and Muzzafarpur in search of
the forgotten thumri. Through the story of this lost thumri sung by
Rasoolan Bai, whose career as a performer overlapped with significant
transitions in both the practice of music and public female
sexualities, the film examines the major shifts in the history of the
tradition.






January 9, 2011, Sunday, 11:30 am
MAYA BAZAR, 1 Hour
By K M Madhusudhanan

This is a film on Surabhi, a 120-year old travelling theatre company
from Andhra Pradesh. Envisaged as a journey with the repertory company,
the film, examines the everyday activities of these travelling actors
and their families, rehearsals, exercises, the staging of the plays
based on the epics and the puranas, the audience, sets, make-up and
costume design. The film also explores the traces of Parsi theatre,
silent cinema from the Phalke era and the paintings of Ravi Verma in
the design of the theatre company’s sets and costumes.


January 9, 2011, Sunday, 12:45 pm
OUT OF THIN AIR, 50 minutes
By Shabani Hassanwalia and Samreen Farooqui

‘Out of Thin Air’ is the story of one of the most surreal and hostile
landscapes in the world. This is the story of Ladakh, not through the
postcards that tourists often see, but through the subterranean, local
film movement that has taken such strong root here in the last six
years, that it has become a voice of the people. Today, taxi drivers,
grocery store owners, cops and monks are producers, directors,
camerapersons and actors of one of the youngest, and most dynamic,
local film industries in the world.


January 23, 2011, Sunday, 11:30 am
CITY OF PHOTOS, 1 Hour
By Nishtha Jain

City Of Photos explores the little known ethos of neighborhood photo
studios in Indian cities, discovering entire imaginary worlds in the
smallest of spaces. Desires, memories and stories all so deeply linked
to photographs all come together as a part of the personal journey into
the city of photos.


February 12, 2011, Saturday, 3pm
NATAK JARI HAIN, 1 Hour 24 minutes
By Lalit Vachani

A film on the New-Delhi based theatre group, Jan Natya Manch (Janam),
critically explores its history and contemporary practices. Combining
archival footage and documentation of contemporary performances, the
film especially focuses on the Nukkad Natak (street theatre), and its
ability to create innovative contexts that facilitate significant
involvement on the part of its audience.

February 12, 2011, Saturday, 4:30 pm
RASIKEN RE, 33 minutes
By Pooja Kaul

"Rasikan Re" ("O Lover of Life") is an urban story about the cautious
attraction between a young girl, Madhu, and her 40-year-old neighbor
Kedar. The film--inspired by the Ragamala, a tradition in Indian Moghul
miniature painting that attempts to visualize music--explores a young
woman's desire, the correlation between art, music and life, and the
rhythm of urban India. Apart from the historical, aesthetic and
socio-cultural contexts of the Ragamala tradition, the study will
explore how the conventions of the Ragamala can themselves inform the
stylistics of representing the tradition on film.


February 13, 2011, Sunday, 11:30 am
KITTE MIL VE MAHI, 1 Hour 15 minutes
By Ajay Bhardwaj

A deeply felt and moving film, Ajay Bharadwaj’s Kitte Mil Ve Mahi cuts
to the quick and puts across a well reasoned and eloquent quest of the
Dalits in Punjab to take on the legitimacy of the deeply exploitative
and humiliating caste system. This sensitively crafted and provocative
film provides a glimpse of the alternate cultural forms of the Punjabi
Dalits that critique the oppression of the ‘upper’ castes and
articulate a powerful vision of social justice. It focuses, in
particular, on the popular Sufi traditions of the Punjabi Dalits.


February 19, 2011, Saturday, 3 pm
THE LISTENER’S TALE, 1 Hour 16 minutes
By Arghya Basu

This is a film exploring the cultural history of Tibetan Buddhism in
Sikkim through the sacred dance theatre of Chham. The film examines
this ritual dance as it shapes and is shaped by its religious and
cultural contexts, as well as the mutations in its traditional meanings
through modernity and education. The film seeks to be a witness to the
contradictions and counter-forces that sustain this ancient art
practice. The Filmmaker was awarded the Pierre and Yolande Perrault
Grant for young filmmakers by the Cinema du Reel, France for this film.


February 20, 2011, Sunday, 11:30 am
NEE ENGEY, 2 Hours 38 minutes
By R V Ramani

The film inquires into the performative and technical aspects of shadow
puppetry while simultaneously striving to serve as a record of the life
and times of the puppeteers. It also seeks to identify useful
comparisons and areas of common interest between shadow puppetry and
cinema. Ramani’s film identifies parallels and areas of common interest
between shadow puppetry and cinema, while as an art form it is also in
conflict with the forces of manipulation and crass commercialization of
the medium.
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