Category: Movies

MUMBAI: Percept Picture Company (PPC) and Hyderabad-based DQ Entertainment (DQE) have signed a memorandum of understanding (MoU) to produce three animated films with a total budget of around $25 million (approximately Rs 1 billion).

This is DQ Entertainment‘s first investment announcement after raising $56 million through its listing on the Alternative Investment Market (AIM) of the London Stock Exchange (LSE).

As per the MoU, PPC and DQE will produce two films based on mythology, and the third one will be a Bollywood masala flick.

The films are slated to release in 2009 and 2010.

PPC MD Shailendra Singh said, “The Indian animation feature market today finds itself at unprecedented values since the whopper hit Hanuman (2005). The movie not only smashed records in the animation segment, but went on to achieve further heights when it broke DVD sales in 2006 followed by the release of PPC‘s Return of Hanuman in 2007.”

DQE CEO Tapaas Chakravarti said, “Bollywood‘s foray into animated Indian feature films with Hanuman has triggered many announcements of animated features by Bollywood houses. The business proposal and co-production understanding between PPC and DQE is aimed at bringing high-quality story telling and visuals and international success to India. We are excited about our plans with PPC and committed to producing high-quality animated films from India for the world.”

DQ Entertainment had earlier said that it would be producing a live action feature film every year, starting from 2008 along with an animated TV series every 18 months.

MUMBAI: Indian films bagged the top award – the Golden Conch – for best documentary in both the national and international categories – as also four other awards at the just concluded 10th Mumbai International Film Festival (MIFF).

The other awards were in the Documentary, Short and Animation Films categories.

While India Untouched – Stories of a People Apart by Stalin K, based on the oppressive caste system, got the top award in the Indian section, Goddesses by Leena Manimekalai – on women’s emancipation – received the Golden Conch in the international section for films up to 60 minutes.

The awards fetched Rs 150,000 and Rs 250,00 respectively in prize money.

India Untouched also won a cash award of Rs 100,000 for best film/video of the festival for the producer, Drishti – Media, Arts and Human Rights.

Renowned Manipur filmmaker Aribam Syam Sharma received the V Shantaram Award for lifetime contribution from Kiran Shantaram, amidst a standing ovation.

The award comprises a shawl, a memento and Rs 250,000.

Poland, the US and Egypt won two awards each in the international section.

Two Polish films,One Day in People’s Poland by Maciej J Drygas and Beyond the Wall, by Vita Zelakeviciute, shared the award for Second Best Documentary up to 60 minutes duration (Silver Conch and Rs 100,000).

Both the films were produced by Drygas.

Salata Baladi (House Salad) by Nadia Kamel of Egypt got the Golden Conch and Rs 250,000 for best documentary above 60 minutes and the International Federation of Film Critics (FIPRESCI) award (Certificate of Merit).

The two American films to win awards were Flow: for Love of Water by Irena Salina, which got the FIPRESCI award and Rs 100,000; and View from a Grain of Sand by Meena Nanji, which won the second best documentary film above 60 minutes (Silver Conch and Rs 100,000).

The other Indian film to win awards in the international category were Kramasha by Amit Dutta, which won the best fiction up to 75 minutes (Golden Conch and Rs 250,000), and the Producers‘ Award for the Film and Television Institute of India (Rs 100,000).

Ink, by director Bharani Thanikella (trophy and Rs 100,000), and Undertakers by Emannuel Quindo Palo, shared the award for second best fiction film up to 75 minutes with Belgium’s Bare Handed by Thierry Knauff (Silver Conch and Rs 100,000).

In the Indian section, the Golden Conch and Rs 150,000 also went to best fiction Manjha by Rahi Anil Barve.

She also got the award for best first film of a director (trophy and Rs 25,000).

The best animation film was Myths about You by Nandita Jain.

Other awards included the Indian Jury Award (Rs 100,000), which went to two films: I’m Very Beautiful by Shyamal Kumar Karmakar and Thousand Days and a Dream by P Baburaj and C Saratchandran.

The Indian Critics award went to Vinod Raja‘s Mahua Memoirs which also received the award for second best documentary (Silver Conch and Rs 75,000).

The Silver Conch and Rs 75,000 for the second best films went to The Lost Rainbow by Dhiraj Meshram produced by FTII (fiction up to 75 minutes), and animation film Three Little Pigs by Bhavana Vyas and Akarito Assumi.

Special Mention and Certificate of Merit was awarded to two films: Our Family by Dr K P Jayasankar and Dr Anjali Monteiro, and Raga of River Narmada by Rajendra Janglay.

The awards were given away by festival director and Films Division chief producer Kuldeep Sinha, filmmakers Shyam Benegal and Jahnu Barua, and actress Nandita Das, in a ceremony conducted by Rajeshwari Sachdev.

A total of 235 films were shown in the special packages in the festival which commenced on 3 February and was organised by the Films Division in collaboration with the Maharashtra government and the Indian Documentary Producers Association.

In addition, there were 44 films in the international competition from 16 countries, 54 films in the Indian competition, and 13 international and nine Indian films in special screenings.

Films from a total of 37 countries were screened in different sections.

MUMBAI: Reliance Entertainment‘s online movie service BigFlicks.com is celebrating Valentine‘s Day with the film Jab We Met.

One can watch the film on BigFlicks.com, free of charge from midnight of 13 February to 4 am on 14 February only in India.

Starring Shahid Kapur and Kareena Kapoor, the film deals with reclusive Aditya meeting Geet on a train; he does not know what a roller coaster ride he is in for. For Geet talks non-stop, attracts friends and trouble in equal measure and treats life like a game.

MUMBAI: Palador Pictures Pvt Ltd has acquired Martin Scorsese-directed documentary film on Rolling Stones Shine a Light.The film, which opened at the Berlin International Film Festival on 7 February, is slated for an April release in the US and will also see an Indian theatrical release.

The film focuses on two concerts of the band in 2006. Besides extensive coverage of this concert, the documentary also features historical footage, interviews and behind-the-scenes footages from the four decades of the band‘s existence, including footage from Bill Clinton‘s birthday party in which the band played.

Palador Pictures MD and Founder Gautam Shiknis said, “We are constantly striving to add new and great quality content to our repertoire of 1000 films. Shine a Light combines two masters in two respective genres, the Rolling Stones in music and Martin Scorsese in movies. We want to expose lovers of both music and cinema in this country to this lethal combination.”

Palador Pictures co-founder and Joint MD, Mohan Polamar added, “Musical documentary has not garnered mass appeal or the detailed attention of the entertainment industry. However, there is a huge audience for the same. We are sure music lovers will lap up this opportunity and go to see the movie in hordes. We also want to show the strength of this genre in this country by doing some interesting events to promote the film.”

The film will be theatrically released in India with 50 prints across the country. Palador also has plans to screen the film, combined with live gigs performed by local bands across the country in exclusive clubs.

MUMBAI: Even the government-run Film and Television Institute of India (FTII) in Pune and the Satyajit Ray Film and Television Institute (SRFTI) in Kolkata are now gearing towards fulfilling the needs of the market instead of concentrating on creativity, speakers at the open forum organised by the Indian Documentary Producers Association (IDPA) and the Films Division said here.
Most of them said, however, that there is little doubt that film institutes like FTII and SRFTI have played a major role in nurturing fresh talent.

But they also said that the aim appears to be to just produce people who can be absorbed by the market as the institutes in the private sector are doing. The speakers were divided on how an idealistic situation can be achieved. Opinions differed with regard to whether the government should have a role to play in the film institutes or they should only be in the private sector.

Renowned filmmaker Mani Kaul, one of the earliest to graduate from the FTII, said the regimen at the institute has become very controlled when compared to the years he was there. He said there was greater opportunity at that time for aspiring filmmakers to interact with filmmakers and writers. Kaul also said that the students in his time benefited from the films of the National Film Archives of India.

He maintained that the courses at present are too structured, only aimed at producing people who can be absorbed by the industry. It is necessary to give the students a chance to pick their own style.

Kart Inderbidgin, who heads Subhash Ghai’s Whistling Woods International in Mumbai, did not agree on giving open space to students as they would spend their time outside the campus, though he admitted that it is an idealistic dream. However, he said that after the first few semesters, the students are given time to plan things on their own. He felt that there has to be some discipline in any institution. He suggested the corporate houses come forward to sponsor students for the courses since the fee is very high in the private institutes. “After all, it is they who want the filmmakers,” he added.

He regretted that the FTII is always facing student unrest, and said this is perhaps one reason why India has not been able to compete on the world market, prompting Kaul – who was conducting the discussion – to remark that Indian cinema has managed to retain at least 93 per cent share in Indian theatres leaving less than ten per cent for Hollywood, unlike European countries which are almost totally dominated by Hollywood.

Meghnath who is an independent filmmaker without training from any institute said the future of the institutes and their products will be decided by the market and those who have the purchasing power.

While he was worried that the voice of the silent majority might not be heard since not all can afford the institutes, he was happy that new technologies haves democratised filmmaking. Thus, many new entrepreneurs are entering the field without formal training. But he also admitted that the institutes have a role to play to produce good filmmakers.

Shyamal Karmakar, a faculty member of the SRFTI, said there is little doubt that the institutes are necessary as they have produced a lot of talent. But the private institutes are far too expensive. He also agreed with Kaul that there is a need to give some open space to the students to interact with filmmakers and writers. He said that the institutes have also resulted in more filmmakers taking the risk of experimentation with newer stories and ideas.

Jeroo Mulla who teaches cinema as part of the mass communications course in Sophia College said that a good outcome of the institutes has been the entry of a large number of women filmmakers. Stressing that institutes are necessary, she agreed that it is ultimately the market forces which decide everything.

Kartikeya Talreja of Digital Academy said the craft can be taught but not the art which is inherent in those who entered the field. “And art flourishes where the money is,” he said. But citing figures from the FICCI-PWC report on the future of Indian entertainment, he said the future is very bright and there are more opportunities than ever before.

Vidyarthi Chatterjee, a film society enthusiast, said there is dire need for the state to support the film institutes.

Onkar Lal Sharma who is a cine writer and an executive committee member in the Film Federation of India suggested that universities start courses in cinema instead of just leaving this to the institutes.

MUMBAI: Eros International has acquired the international distribution rights for Ram Gopal Varma‘s yet to release Sarkar Raaj.

Starring Amitabh Bachchan, Abhishek Bachchan and Aishwarya Rai Bachchan, Sarkar Raaj is the sequel to award winning Sarkar, which was based on the politician-underworld nexus in Mumbai.

MUMBAI: Kabir Khan, the director of Kabul Express which released on 15 Dec 2006, is now all set to direct his next film for Yash Raj Films.

The yet-to-be christened film has Katrina Kaif as the female lead opposite John Abraham. The film, which will go on the floors in July this year, will release in 2009. The rest of the cast members are still being finalised.

“This is a very relevant and contemporary story and very close to my heart. I am excited to start my second film under the Yash Raj banner,” says Khan.

MUMBAI: With the Oscar fever rising among movie-enthusiasts, multiplex chains like Cinemax and Adlabs are gearing up to cash it with more Academy winner or nominee movies.

Cinemax has assembled a package of award-winning films for all Hollywood fans. It will screen three critically acclaimed movies – Crash, Million Dollar Baby and The Departed, from 8 to 10 February at Cinemax properties under the title “Cinemax Oscar Fest.”

The films will be screened at three of the Cinemax properties at Versova, Vashi and Thane. Cinemax has selected these three movies as each one is an award-winning film that excels in terms of story, direction, screenplay and acting. In Adlabs, the movies will be shown at IMAX, Metro and Vashi from 8 to 14 February.

Under “Oscar Film Fest,” American Gangster, The Bourne Ultimatum, Elizabeth: The Golden Age, Norbit, Transformers, Pirates of the Caribbean 3, Ratatouille, Surf‘s Up, Enchanted, The Golden Compass and Eastern Promises will be screened at Adlabs properties.

Cinemax VP (marketing and programming) Devang Sampat said, “With the 80th Annual Academy Awards fast approaching, we took up the lead to screen three of the best Oscar-winning pictures of yesteryear in three of our properties.”

MUMBAI: It’s not very often that you get to see three of the best talent of Bollywood in one film. Naseerudin Shah, Om Puri, Paresh Rawal will share screen space in Priyadarshan’s soon to be released Mere Baap Pehle Aap, a rib tickling comedy. Cine buffs will be treated to a veritable fare in the film as the three of our all time greats will display their talent in the Malyali remake. Another interesting aspect of the film is danseuse Shobhana who stars in her first ever commercial film.

Akshaye Khanna and Genelia play the lead couple in the film which was shot in three locations, Goa, Chennai, Mumbai. The music is by Vidyasagar and the film is slated for an April release. Like all Priyadarshan’s films, this one too has been completed in a short span of 60 days.

In the days of mediocre talent it is heartening to hear that good talent is still recognized. Though, of course, it remains to be seen if the film gives them the opportunity to display their craft.

MUMBAI: The technique of animation is one of the best mediums of films for social communication in that it is non-confrontational, transcends cultural, borders or language barriers, and appeals to audiences of all ages.

While one cannot avoid showing violence in animation or other films since this is a part of society today, it should be done without glorifying it to the extent that people – particularly children – become insensitive to streaks of violence.

This was the general consensus of an open forum organised by the Indian Documentary Producers Association (IDPA) on “Animation and Social Communication” presided over by renowned animation filmmaker Ram Mohan.

Noting that the animation industry in India has grown into a multi-million dollar enterprise, Mohan said that animation had first become institutionalised in the country when the Films Division set up an animation studio in the 1950s with the clear aim of using it as a vehicle for social messages as the medium has an inherent quality that makes it ideal of this purpose. He also rued that there was a dearth of talented people in animation though there was no shortage of ideas.

Answering a question, he said it is not fair to use animation films as a baby-sitter if the parent or adult is busy with other work, since the child watching such films may not be able to get the right kind of message. It is necessary for an adult to be present to interpret the film when young children are watching it.

Referring to the violence in animation serials, he said one cannot avoid violence which is a part of society, but it can be ensured that there is no glorification. Furthermore, while every story has to have a hero and a villain, it is necessary to see what they are fighting for. He said that the private television channels clearly go in for what is the cheapest available programme without being choosy.

He referred to series like Sesame Street which are devoid of violence and have proved popular in the west, but failed in the Indian version Gali Gali Sim Sim.

Reeves Lehmann, Chief of Films at the School of Visual Arts in the United States, agreed and added that The Simpsons proved very popular and full of important social messages though it does not have any violence. Even Disney is now into making films that do not have unnecessary violence. But he agreed that the TV animation series and the animation games are full of violence.

He admitted that the animation series had originally commenced in the US only as publicity for various toys like He-Man, Superman, Spiderman, Batman and so on.

Though there had been some problem two decades earlier to get people interested in animation, this is not the case at present. He stressed that animation is a universal format which got resurgence in the late eighties when some studios in the US decided to make full-length feature films beginning with a film called Mermaid. More people had then entered this field to learn the art.

Though it is often thought that with the coming of computers, traditional animation has become outdated, this is not so since that kind of animation is still more popular than computerised filming. In fact, many filmmakers prefer to combine different forms of animation in the same film, he added.

He agreed with Mohan that there is a shortage of good story writers for animation films.

Several persons including filmmakers and mediapersons who spoke complained about the violence in TV series and also lamented the fact that institutions like the Films Division had reduced the number of animation films made every year. Many also said that the channels including Doordarshan are driven by commercial considerations, and therefore, only show what they feel would prove popular.