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Category: Hindi

  • IFFI 2016: Abhay Deol acquires three films;explores digital release

    IFFI 2016: Abhay Deol acquires three films;explores digital release

    NEW DELHI: Actor producer Abhay Deol has acquired critically acclaimed festival favourite independent films to explore their release on digital platforms at the ongoing Film Bazaar at the International Film Festival of India in Goa.

    The films are Aditya Vikram Sengupta’s Venice Film Festival and National Award Winner – “Labor Of Love”; Payal Sethi’s critically acclaimed multi-award winning ‘UN Women’ Selection – “Leeches”; and Brahmanand’s heartbreaking documentary on Ghazal Maestro Jagjit Singh “Kaagaz Ki Kashti”, among others.

    Deol said: “I saw “Labour of Love” at Indian Film Festival of Los Angeles and was blown away with Aditya’s aesthetic sensibilities, and his ability to spin a story without any spoken dialogues! Payal’s Leeches is an important film that people need to watch. She has beautifully woven a compelling story around an issue that is anathema to our social fibre and well-being. My most recent select is “Kaagaz Ki Kashti”, which pays homage to Ghazal maestro Jagjit Singh and premiered at MAMI this year. Brahmanand is a savant behind the lens and succeeds in powerfully bringing the legend back to life. I strongly believe in these films and want to ensure that audiences across the world watch them.”

    On being asked about the strategy of exploring the release the films on digital platforms, Deol said, “The way we consume content has changed. While it is no secret that we have a limited number of screens in India, the economics to engage in a theatrical release don’t make sense for Independent films. Minimum P&A budgets required to secure a decent release add unhealthy weight on a small film. What we need now is to adopt alternate avenues of distribution that are widely available thanks to platforms like iTunes, Netflix and Amazon Prime, all of which are effectively reaching global audiences. I’ve been in touch with some filmmakers who increasingly understand this changing environment. Pulkit’s recent directorial debut “Maroon,” is a fine example of an indie release done right. Vivek Kajaria and his team strategically released the film day and date on iTunes Worldwide, straight from MAMI. The potential reach that a film can achieve adopting this route is significant and can no longer be ignored.”

    Sengupta said, “We’re very excited about this opportunity to collaborate with Abhay Deol and take the next step in this incredible journey of Labour Of Love. Abhay has been a champion for the film right from the beginning and will help in introducing the film to an even wider audience. I’m also happy about the fact that he is taking the initiative to further the movement of Indian independent cinema.”

    Payal added, “This is the start of a new movement for Indian indies, which need to look towards innovation, not just in filmmaking, but distribution as well. I applaud Abhay’s trail-blazing stance, which is a huge boost for films such as mine that have proven capable of winning accolades on the world-stage. This initiative gives our films a digital lease on life and empowers us to build audiences beyond a successful festival run.”

    Brahma whose documentary has been the talk of the town said, “I feel initiatives and eyes for films like these by ambassadors like Abhay is needed for the film to reach its rightful audience in the longer run …A film is a film and the key is to keep you hooked to the narrative and legends like these needs to be remembered and perpetuated for posterity.

    Everyone from the maker to champions of them like Abhay as well as distributors and platforms like Netflix, iTunes, Amazon Prime etc need to come together to drive these initiatives to its rightful viewers.”

    On the topic of monetization via release on digital platforms and online distribution masquerading as piracy, Deol says. “Piracy is not a matter of choice, but stems primarily due to the unavailability of content on legitimate digital platforms. If your film is made available in a timely manner, then I truly believe that audiences would prefer to pay and watch it on a platform legally. Moreover, monetization through digital distribution is increasingly resulting in a positive return on investment (ROI). Licensing platforms are offering fair payouts, potentially paving a way for audiences around the world to watch and appreciate South Asian Content.”

    Abhay Deol will continue to curate films he loves and present them to audiences the world over by collaborating with Digital Platforms.

  • IFFI 2016: 32 films for pitching in Film Bazaar

    IFFI 2016: 32 films for pitching in Film Bazaar

    NEW DELHI: A total of 32 films are being screened in the Film Bazaar Recommends section of the International Film Festival of India (IFFI) at Panaji, which are all aimed at pitching for distribution or selection for international film festivals.

    The films including five feature documentaries and 27 fiction features in 14 languages will pitch their trailers in the ‘Investor’s Pitch’ at 10th NFDC Film Bazaar 2016. Film Bazaar Recommends are feature length films recommended specially by the Film Bazaar team from among the film submissions to the Viewing Room.

    Other sections in the market include Open Pitch, which is in its second edition, and where filmmakers present their ideas and requirements to an audience of film industry members.

    Producer Miriam Joseph, OLFFI Managing Director Ilann Girard and Pallas Films producer Thanassis Karathanos discussed the importance and challenges of public funding and a clear emphasis emerged on developing the project thoroughly before looking for funding. “For independent films, it is always challenging to find funding,” Ilann Girard said, adding, “It is a multi-path relationship, and you have to look at the whole picture and understand the organic needs of your project, so there is a balance creatively and financially. It is very important to remain true to yourself.”

    The section on Film Festivals And Markets – Building Audiences And Business Opportunities was moderated by Deepti D’Cunha and the panelists at this session included Festival Programmers Paolo Bertolin and Uma D’Cunha, Sales Agent Chris Paton, and filmmakers Raam Reddy (Thithi) and Kanu Behl (Titli), whose debuts have received much critical acclaim. There was an engrossing and riveting conversation on the intricacies of the business side of the film industry. The importance of promoting films was emphasised.

    “It is difficult for independent films in India to get selected at a festival like Venice Film Festival, and whenever a filmmaker does get the rare opportunity to promote their film, they should grab it. After years, there were two Indian films, `Court’ and `Visaranai’, that were screened there,” Paolo Bertolinsaid. “Although this piece of advice is getting more and more controversial, you should get a sales agent, because they are the ones who know how to maximise your positioning within the festival and who already know how to work with and within the festival. You are faced with many challenges, and you don’t need to do this alone. If you don’t manage to get a sales agent, you should at least get a press agent, so that the film gets the widest exposure and reaches your target audience.”

    “NFDC Film Bazaar really changed my life, and it gave me a wealth of knowledge. I was completely clueless when I came here,” Raam Reddy said candidly, highlighting, “I owe my entire career to NFDC Film Bazaar because I received so much constructive criticism and feedback from the Work-In-Progress Lab. Dreams can be built here.”

    The Virtual Reality Lounge, powered by Samsung Gear VR Premiere and introduced for the first time, had A R Rahman’s ‘Live-In-VR Experience’ Vande Mataram as the premiere, which also allowed participants to curate their viewing experience uniquely with a range of Virtual Reality (VR) film experiences to choose from.

    The Industry Screenings segment opened with Suhas Bhosale’s ‘Koti’, an acclaimed Marathi film about a young transgender in a rural village and went on to screen titles like ‘Trap’ by B Madhusudhan Reddy and `Aloko Udapadi’ (Sinhala) by Chathra Weeraman amongst others.

    The Bazaar will conclude on 24 November 2016.

  • IFFI 2016: 32 films for pitching in Film Bazaar

    IFFI 2016: 32 films for pitching in Film Bazaar

    NEW DELHI: A total of 32 films are being screened in the Film Bazaar Recommends section of the International Film Festival of India (IFFI) at Panaji, which are all aimed at pitching for distribution or selection for international film festivals.

    The films including five feature documentaries and 27 fiction features in 14 languages will pitch their trailers in the ‘Investor’s Pitch’ at 10th NFDC Film Bazaar 2016. Film Bazaar Recommends are feature length films recommended specially by the Film Bazaar team from among the film submissions to the Viewing Room.

    Other sections in the market include Open Pitch, which is in its second edition, and where filmmakers present their ideas and requirements to an audience of film industry members.

    Producer Miriam Joseph, OLFFI Managing Director Ilann Girard and Pallas Films producer Thanassis Karathanos discussed the importance and challenges of public funding and a clear emphasis emerged on developing the project thoroughly before looking for funding. “For independent films, it is always challenging to find funding,” Ilann Girard said, adding, “It is a multi-path relationship, and you have to look at the whole picture and understand the organic needs of your project, so there is a balance creatively and financially. It is very important to remain true to yourself.”

    The section on Film Festivals And Markets – Building Audiences And Business Opportunities was moderated by Deepti D’Cunha and the panelists at this session included Festival Programmers Paolo Bertolin and Uma D’Cunha, Sales Agent Chris Paton, and filmmakers Raam Reddy (Thithi) and Kanu Behl (Titli), whose debuts have received much critical acclaim. There was an engrossing and riveting conversation on the intricacies of the business side of the film industry. The importance of promoting films was emphasised.

    “It is difficult for independent films in India to get selected at a festival like Venice Film Festival, and whenever a filmmaker does get the rare opportunity to promote their film, they should grab it. After years, there were two Indian films, `Court’ and `Visaranai’, that were screened there,” Paolo Bertolinsaid. “Although this piece of advice is getting more and more controversial, you should get a sales agent, because they are the ones who know how to maximise your positioning within the festival and who already know how to work with and within the festival. You are faced with many challenges, and you don’t need to do this alone. If you don’t manage to get a sales agent, you should at least get a press agent, so that the film gets the widest exposure and reaches your target audience.”

    “NFDC Film Bazaar really changed my life, and it gave me a wealth of knowledge. I was completely clueless when I came here,” Raam Reddy said candidly, highlighting, “I owe my entire career to NFDC Film Bazaar because I received so much constructive criticism and feedback from the Work-In-Progress Lab. Dreams can be built here.”

    The Virtual Reality Lounge, powered by Samsung Gear VR Premiere and introduced for the first time, had A R Rahman’s ‘Live-In-VR Experience’ Vande Mataram as the premiere, which also allowed participants to curate their viewing experience uniquely with a range of Virtual Reality (VR) film experiences to choose from.

    The Industry Screenings segment opened with Suhas Bhosale’s ‘Koti’, an acclaimed Marathi film about a young transgender in a rural village and went on to screen titles like ‘Trap’ by B Madhusudhan Reddy and `Aloko Udapadi’ (Sinhala) by Chathra Weeraman amongst others.

    The Bazaar will conclude on 24 November 2016.

  • Viacom18 blocks Force 2 across 1250 websites; gets interim order from Madras HC

    Viacom18 blocks Force 2 across 1250 websites; gets interim order from Madras HC

    MUMBAI: Viacom18 has secured a John Doe interim order from Madras High Court restricting more than 1250 identified and all other unidentified websites from making the infringing copies of Viacom18’s latest release i.e ‘Force2’ available for public viewing over internet.

    In the said order, the Court has further directed 40 major Internet Service Providers (ISPs) and also other unidentified ISPs to block all such pirate websites which are illegally making the said film available over internet.

    Viacom18 group general counsel Sujeet Jain said, “I welcome this order from the Hon’ble Madras High Court. It is estimated that India loses $2.5 billion to online movie piracy every year. With increased penetration of technology and internet in India, piracy through online distribution is expected to continue to be a major source of revenue leakage for the movie industry. This order is a significant development for the film industry in its fight against online piracy. As immediate next steps, we’ve also launched an investigation into identifying the source of piracy at the threshold level and we will be soon taking strict action on that front. “

    Viacom18 had earlier successfully secured John Doe orders against infringement of its films Drishyam and ‘Manjhi – The Mountain Man’ as well. In the current scenario the High Court in certain states are directing injunction against URLs only which according to many filmmakers is ineffective as URLs are easily mirrored and new URLs pop up in no time. The John Doe Order for Force 2 blocking access to the entire pirate websites should therefore be a relief and aid to filmmakers across country in their war against piracy.

  • Viacom18 blocks Force 2 across 1250 websites; gets interim order from Madras HC

    Viacom18 blocks Force 2 across 1250 websites; gets interim order from Madras HC

    MUMBAI: Viacom18 has secured a John Doe interim order from Madras High Court restricting more than 1250 identified and all other unidentified websites from making the infringing copies of Viacom18’s latest release i.e ‘Force2’ available for public viewing over internet.

    In the said order, the Court has further directed 40 major Internet Service Providers (ISPs) and also other unidentified ISPs to block all such pirate websites which are illegally making the said film available over internet.

    Viacom18 group general counsel Sujeet Jain said, “I welcome this order from the Hon’ble Madras High Court. It is estimated that India loses $2.5 billion to online movie piracy every year. With increased penetration of technology and internet in India, piracy through online distribution is expected to continue to be a major source of revenue leakage for the movie industry. This order is a significant development for the film industry in its fight against online piracy. As immediate next steps, we’ve also launched an investigation into identifying the source of piracy at the threshold level and we will be soon taking strict action on that front. “

    Viacom18 had earlier successfully secured John Doe orders against infringement of its films Drishyam and ‘Manjhi – The Mountain Man’ as well. In the current scenario the High Court in certain states are directing injunction against URLs only which according to many filmmakers is ineffective as URLs are easily mirrored and new URLs pop up in no time. The John Doe Order for Force 2 blocking access to the entire pirate websites should therefore be a relief and aid to filmmakers across country in their war against piracy.

  • IFFI 2016: ‘Ode to Woman’ – central theme of inaugural ceremony

    IFFI 2016: ‘Ode to Woman’ – central theme of inaugural ceremony

    NEW DELHI: Renowned filmmaker, composer and singer S P Balasubrahmanyam received the Centenary award at the inauguration of the International Film Festival of India at Panaji in Goa yesterday evening.

    Bakasubrahmanyam holds the record in the Guinness Book for singing and recording more than 40,000 songs and has won the National Award six times. He was honoured with the Padma Shri (2001) and Padma Bhushan (2011).

    In his acceptance speech after getting the award from Goa governor Mridula Sinha, Goa chief minister Lakshmikant Parsekar and information and broadcasting minister M Venkaiah Naidu, he said he owed the award to his mother and to thousands of soldiers protecting the Indian borders.

    Meanwhile, the inauguration the 47th IFFI at the newly built Shyama Prasad Mukherjee stadium was a glitzy affair with a lengthy dance presentation alternated with audio-visuals as a tribute to the Indian woman. The hour-long presentation was choreographed by Ganesh Acharya.

    Others present included defence minister Manohar Parrikar and AYUSH minister Shripad Naik, apart from I and B Secretary Ajay Mittal, Goa chief secretary R K Shrivastava, festival director C Senthil Rajan and Entertainment Society of Goa CEO Ameya Abhyankar.

    Balasubrahmanyam was presented the award for his remarkable, extraordinary and exceptional journey in Indian cinema as a singer, actor and producer.

    The ‘Ode to a Woman’ had dance sequences featured the evolutionary journey of contribution of woman to Indian cinema as a dreamer, radical, leader, creator, fighter, challenger and game changer. Supported by projections of the life and cinema of the period on the background and numbers on stage performances presented a seamless beautiful act recreating the nostalgic memories of woman traversing changing decades.

    Other celebrities attending the opening include members of the International Jury (Ivan Passer, Larry Smith, Lordan Zafranovic, Nagesh Kukunoor and Leila Kilani) and Indian Panorama jury, Nana Patekar, Mukesh Khanna, Mrinal Kulkarni, Divya Dutta, Sudheer Mishra, Nagesh Kukunoor, Prosenjit Chatterjee and Goutam Ghose.

    IFFI 2016 will have 194 films from 88 countries with focus on Korea. It would also organize a special tribute section in the memory of Polish filmmaker Andrzej Wajda and Iranian filmmaker Abbas Kiarostami, both of whom passed away this year.

    The 47th edition of IFFI would screen three films for specially-abled children with special audio described technology under the Accessible India Campaign/ Sugamaya Bharat Abhiyan. This screening would take place in collaboration with UNESCO and Saksham.

    Inspired by the Government’s Clean India Drive, IFFI 2016 will showcase a special package of 20 award winning short films based on the Swachh Bharat theme.

    The 47th edition of the festival besides showcasing films from across the globe would also bring interactive sessions, workshops and informative classes from global masters of the art in Direction, Documentary film making, Editing, Art Direction, Cinematography, VFX & Animation and Action Direction.

    Meanwhile, Naidu opened the Indian Panorama featuring 26 feature and 21 non-feature films which had a Sanskrit film – ‘Ishti’ by G Prabha – as the inaugural for the second year in a row.

    Naidu said: “We are here today to celebrate the boundless power of the creative medium of cinema”. He further said that Indian Panorama presented a platform for young, aspiring and independent film makers from India to showcase their craft to an audience from across the world. Naidu said the Panorama had extended entries to uncensored video films as well with an aim to encourage the participation of latest films from across the country.

    The jury of Feature Films, headed by well-known Director and Producer Rajendra Singh Babu, has selected 26 films out of 230 eligible entries. In the Non-Feature films jury chaired by well-known documentary filmmaker Shri Arvind Sinha has picked 21 films out of 199 eligible entries.

    Manipuri film ‘Ima Sabitri’ directed by Bobo Khuraijam was the opening non-feature film of Indian Panorama 2016.

  • IFFI 2016: ‘Ode to Woman’ – central theme of inaugural ceremony

    IFFI 2016: ‘Ode to Woman’ – central theme of inaugural ceremony

    NEW DELHI: Renowned filmmaker, composer and singer S P Balasubrahmanyam received the Centenary award at the inauguration of the International Film Festival of India at Panaji in Goa yesterday evening.

    Bakasubrahmanyam holds the record in the Guinness Book for singing and recording more than 40,000 songs and has won the National Award six times. He was honoured with the Padma Shri (2001) and Padma Bhushan (2011).

    In his acceptance speech after getting the award from Goa governor Mridula Sinha, Goa chief minister Lakshmikant Parsekar and information and broadcasting minister M Venkaiah Naidu, he said he owed the award to his mother and to thousands of soldiers protecting the Indian borders.

    Meanwhile, the inauguration the 47th IFFI at the newly built Shyama Prasad Mukherjee stadium was a glitzy affair with a lengthy dance presentation alternated with audio-visuals as a tribute to the Indian woman. The hour-long presentation was choreographed by Ganesh Acharya.

    Others present included defence minister Manohar Parrikar and AYUSH minister Shripad Naik, apart from I and B Secretary Ajay Mittal, Goa chief secretary R K Shrivastava, festival director C Senthil Rajan and Entertainment Society of Goa CEO Ameya Abhyankar.

    Balasubrahmanyam was presented the award for his remarkable, extraordinary and exceptional journey in Indian cinema as a singer, actor and producer.

    The ‘Ode to a Woman’ had dance sequences featured the evolutionary journey of contribution of woman to Indian cinema as a dreamer, radical, leader, creator, fighter, challenger and game changer. Supported by projections of the life and cinema of the period on the background and numbers on stage performances presented a seamless beautiful act recreating the nostalgic memories of woman traversing changing decades.

    Other celebrities attending the opening include members of the International Jury (Ivan Passer, Larry Smith, Lordan Zafranovic, Nagesh Kukunoor and Leila Kilani) and Indian Panorama jury, Nana Patekar, Mukesh Khanna, Mrinal Kulkarni, Divya Dutta, Sudheer Mishra, Nagesh Kukunoor, Prosenjit Chatterjee and Goutam Ghose.

    IFFI 2016 will have 194 films from 88 countries with focus on Korea. It would also organize a special tribute section in the memory of Polish filmmaker Andrzej Wajda and Iranian filmmaker Abbas Kiarostami, both of whom passed away this year.

    The 47th edition of IFFI would screen three films for specially-abled children with special audio described technology under the Accessible India Campaign/ Sugamaya Bharat Abhiyan. This screening would take place in collaboration with UNESCO and Saksham.

    Inspired by the Government’s Clean India Drive, IFFI 2016 will showcase a special package of 20 award winning short films based on the Swachh Bharat theme.

    The 47th edition of the festival besides showcasing films from across the globe would also bring interactive sessions, workshops and informative classes from global masters of the art in Direction, Documentary film making, Editing, Art Direction, Cinematography, VFX & Animation and Action Direction.

    Meanwhile, Naidu opened the Indian Panorama featuring 26 feature and 21 non-feature films which had a Sanskrit film – ‘Ishti’ by G Prabha – as the inaugural for the second year in a row.

    Naidu said: “We are here today to celebrate the boundless power of the creative medium of cinema”. He further said that Indian Panorama presented a platform for young, aspiring and independent film makers from India to showcase their craft to an audience from across the world. Naidu said the Panorama had extended entries to uncensored video films as well with an aim to encourage the participation of latest films from across the country.

    The jury of Feature Films, headed by well-known Director and Producer Rajendra Singh Babu, has selected 26 films out of 230 eligible entries. In the Non-Feature films jury chaired by well-known documentary filmmaker Shri Arvind Sinha has picked 21 films out of 199 eligible entries.

    Manipuri film ‘Ima Sabitri’ directed by Bobo Khuraijam was the opening non-feature film of Indian Panorama 2016.

  • Sequels’ collections fall flat

    Sequels’ collections fall flat

    MUMBAI: The week saw two releases, both sequels. Force 2, a sequel to Force (2011) with John Abraham, a narcotics department cop going on an international assignment, where it was almost as if the action director was in charge. Tum Bin 2, a sequel to Tum Bin (2001) which saw a fair success, thanks to its musical score, was more like a remake of the same film rather than a sequel, albeit with inferior music.

    Both took the audience for granted and paid heavily.

    *Indian films have followed a certain formula when one said the film has ‘something for everybody’ like romance, music, comedy and drama. Action was incidental. In a frenzy to copy fast paced Hollywood films, where much of the enhancement coming from special effects, as in little to do with on the sets filming and more to do with on the table filmmaking, the films emerge one dimensional. Force 2 is an extreme example. It sheds all that is formula and vends only action. Actions sans emotional backing falls flat and that is what seems to have happened to Force 2.

    The film had an average opening of about Rs 5.5 crore with no appreciation as the film has nothing to appreciate, it ended its opening weekend with Rs 18.75 crore.

    *Tum Bin 2, coming as it does after 15 years since its first version, palms off the same story it did earlier. Right, the generation has changed but so have tastes. Also, at 2 hours 21 minute of running time and new faces to carry it through, was asking for too much. While the earlier version had a music to relish, this one lacks in this department.

    The film opened to very poor response as the first day figures at the box office being in lakhs, it failed to show much improvement over the weekend to end its first weekend with Rs 2.4 crore.

    *Rock On 2, a sequel to Rock On (2008) was a muddled film idea. Forgetting to keep up with its title and pack some music to hum, it peddled a convoluted story with multiple threads failing to tie it together in the end. Meeting with poor opening and negative word of mouth, it ended its first week with a disastrous Rs 8.45 crore.

    *Chaar Sahibzaade (3-D: Animation) rates in total loss category.

    *Dongri Ka Raja spelt disaster with about Rs 30 lakh for its opening week.

    *Ae Dil Hai Mushkil added about Rs 4.1 crore in its third week taking its three week total to Rs 100.7 crore.

    *Shivaay has added Rs 2.6 crore in its third week to take its three week tally to Rs 84.1 crore.

  • Sequels’ collections fall flat

    Sequels’ collections fall flat

    MUMBAI: The week saw two releases, both sequels. Force 2, a sequel to Force (2011) with John Abraham, a narcotics department cop going on an international assignment, where it was almost as if the action director was in charge. Tum Bin 2, a sequel to Tum Bin (2001) which saw a fair success, thanks to its musical score, was more like a remake of the same film rather than a sequel, albeit with inferior music.

    Both took the audience for granted and paid heavily.

    *Indian films have followed a certain formula when one said the film has ‘something for everybody’ like romance, music, comedy and drama. Action was incidental. In a frenzy to copy fast paced Hollywood films, where much of the enhancement coming from special effects, as in little to do with on the sets filming and more to do with on the table filmmaking, the films emerge one dimensional. Force 2 is an extreme example. It sheds all that is formula and vends only action. Actions sans emotional backing falls flat and that is what seems to have happened to Force 2.

    The film had an average opening of about Rs 5.5 crore with no appreciation as the film has nothing to appreciate, it ended its opening weekend with Rs 18.75 crore.

    *Tum Bin 2, coming as it does after 15 years since its first version, palms off the same story it did earlier. Right, the generation has changed but so have tastes. Also, at 2 hours 21 minute of running time and new faces to carry it through, was asking for too much. While the earlier version had a music to relish, this one lacks in this department.

    The film opened to very poor response as the first day figures at the box office being in lakhs, it failed to show much improvement over the weekend to end its first weekend with Rs 2.4 crore.

    *Rock On 2, a sequel to Rock On (2008) was a muddled film idea. Forgetting to keep up with its title and pack some music to hum, it peddled a convoluted story with multiple threads failing to tie it together in the end. Meeting with poor opening and negative word of mouth, it ended its first week with a disastrous Rs 8.45 crore.

    *Chaar Sahibzaade (3-D: Animation) rates in total loss category.

    *Dongri Ka Raja spelt disaster with about Rs 30 lakh for its opening week.

    *Ae Dil Hai Mushkil added about Rs 4.1 crore in its third week taking its three week total to Rs 100.7 crore.

    *Shivaay has added Rs 2.6 crore in its third week to take its three week tally to Rs 84.1 crore.

  • IFFI 2016: Korean director Im-kwon Taek receives Lifetime Achievement Award

    IFFI 2016: Korean director Im-kwon Taek receives Lifetime Achievement Award

    NEW DELHI: Internationally acclaimed Korean film director and writer Im Kwon Taek was conferred the prestigious ‘Lifetime Achievement Award’ award at the inauguration of the International Film Festival of India at Panaji in Goa yesterday evening.

    Regarded as the father of Korean cinema for his long and prolific career and his work on Korean themes and subjects, Im Kwon Taek has been honoured with several national and international awards.

    In a brief acceptance speech after receiving the award from the Goa governor Mridula Sinha and information and broadcasting minister M Venkaiah Naidu, Taek said he made some immature films at the start of his career. Now in his eighties, Taek who has made over 100 films said that he had felt embarrassed at the time, and then decided to make films based on Korea and its ancient culture.

    Earlier, at a press meet, he said he personally felt that he had not created a masterpiece yet and this award is a message to make better films in the future.

    His career spans more than five decades and he has made more than 100 films. In 2010, he directed his 101th feature, ‘Hanji’ and his 102th feature, ‘Revivre’ in 2014, which was presented in non-competition section of Venice Film Festival. He received the Lifetime Achievement Award at Asian Film Awards in 2015.

    Talking about the Indian cinema, Im Kwon Taek said that he is fond of the work of Shah Rukh Khan and liked 3 Idiots and Slumdog Millionaire. To a question on influence of India on Korean films, he said that he too has made a film on Buddha and reincarnation. It would be a great opportunity to co-produce films with India, he added.

    The director said he visited India 20 years ago to attend a festival in Thiruvananthapuram (Trivandrum). At that time, he felt like returning home due to cultural difference, but once back home he missed the distinct culture of India.

    Born in 1934 in Jangseong, Jeollanamdo, Im Kwon Taek made about 50 films within a decade, when he studied a variety of film genres including melodrama, musical, action cinema, thriller and comedy from Hollywood and Hong Kong cinema. He was recognized as the leading director of Korean cinema in 1980s.

    In 2000, he directed Chunhyang, the first Korean film in the competition of Cannes Film Festival and Chihwaseon (2002) that won the Best Director Award in Cannes.