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Tag: Atul Sabharwal

  • Red Lorry Film Festival announces esteemed jury for 2025 Competition Segment

    Red Lorry Film Festival announces esteemed jury for 2025 Competition Segment

    MUMBAI: The spotlight is set, the reels are ready, and the magic of cinema is about to unfold once again.

    The Red Lorry Film Festival, India’s premier international celebration of storytelling, makes a grand return in 2025, promising a cinematic extravaganza like no other.

    With its second edition slated for 21–23 March 2025, the festival unveils a stellar jury panel for its Competition Segment, poised to evaluate the finest films of 2024. Adding to its allure, the festival ventures beyond Mumbai this year, introducing Red Lorry Film Festival: Parallel Verse in the vibrant city of Hyderabad, weaving together a dual-city saga of cinematic brilliance.

    This year’s festival promises an immersive celebration of global cinema, featuring over 120 films spanning diverse languages, genres, and cultures. The newly introduced Competition Segment highlights exceptional talent across two categories:

    1    The Front Runners (Best Film): Recognising outstanding storytelling and technical excellence.

    2    Fresh Frames (Best Debut Film): Celebrating bold narratives from first-time filmmakers.

    Submissions for both categories remain open until 14 January 2025, offering filmmakers a chance to showcase their creativity on a global stage.

    The 2025 jury panel brings together an eclectic mix of luminaries celebrated for their contributions to storytelling and artistic innovation:

    1    Acclaimed filmmaker behind Udaan and Lootera, Vikramaditya Motwane expressed his excitement: “Cinema is a universal language and I am truly excited to celebrate its transformative power at Red Lorry Film Festival 2025. Festivals like these provide a platform for innovative voices and stories that push the limits of creativity and it’s an honour to be part of a space that celebrates and nurtures such bold, transformative storytelling.”

    2    Writer-director of Berlin and Jubilee, Atul Sabharwal highlighted, “Cinema is a mirror to society, capturing its complexities, dreams and unspoken truths. Red Lorry Film Festival stands as a beacon of innovation in cinema, celebrating bold storytelling and emerging talent that challenges perspectives and sparks meaningful conversations. I look forward to celebrating and amplifying voices that are redefining storytelling on the global stage and to witnessing the impact of stories that resonate deeply with audiences worldwide.”

    3    Journalist and author, Kaveree Bamzai added, “This festival is a celebration of stories that connect us all, transcending boundaries and bringing us closer through shared experiences and emotions. In a world that is increasingly complex, I am thrilled to explore narratives that not only reflect its multifaceted beauty but also challenge us to think deeper, empathise more and celebrate the richness of human expression. Festivals like these remind us of the power of storytelling – to inform, inspire and transform – and I am honoured to be a part of this vibrant exchange of ideas and perspectives.”

    4    PVR-Inox Cinemas executive director, Sanjeev Kumar Bijli shared, “At PVR Inox, we have always strived to push the boundaries of storytelling and offer audiences an unparalleled cinematic experience. Red Lorry Film Festival perfectly aligns with our vision by celebrating creativity, diverse narratives and the transformative power of films. I am delighted to be part of a platform that not only showcases exceptional talent but also nurtures innovation and inclusivity in cinema.”

    5    Kathak dancer and actor, Prachee Shah Paandya said, “Cinema, much like dance, is a powerful expression of life – both are art forms that transcend words, evoke deep emotions and bring stories to life in a way that resonates universally. I am truly honoured to be part of a festival that fosters and celebrates emerging voices in filmmaking, providing a platform for fresh talent to shine and contribute to the ever-evolving narrative of cinema. As someone who has had the privilege of representing India’s cultural heritage globally through dance and storytelling, I deeply value initiatives like this that champion creativity, diversity and the limitless possibilities of artistic expression.”

    6    Award-winning filmmaker of Bareilly Ki Barfi and Panga, Ashwiny Iyer Tiwari remarked, “Storytelling is the soul of human connection and cinema is one of its most powerful medium. I am honoured to be part of the Red Lorry Film Festival that celebrates the art of movie making and provides a platform for new and emerging voices to share their unique narratives. As a filmmaker, I believe in the power of stories to inspire, evoke change and bring us closer to our roots. Film Festivals like these not only encourage unique voices but also nurture and give an equal platform to the next generation of storytellers, ensuring that the magic of cinema continues to thrive and evolve from India to the world.”

    7    BookMyShow founder & CEO, Ashish Hemrajani joined as an honorary juror, stating, “At BookMyShow, we love storytellers, recognising the ability to inspire, connect and question the status quo. Red Lorry Film Festival perfectly embodies this ethos – serving as a platform that celebrates cinematic excellence and also lends a voice to what’s pushing the boundaries of creativity. As an Honorary Juror, I am humbled and excited to witness first-hand the exceptional talent that emerges via this discovery. This festival is a testament to the potential of cinema to ignite imagination and hopefully leave a lasting impact on the world.”

    Led by BookMyShow COO – cinemas, Ashish Saksena, the festival is more than a cinematic showcase; it is a platform for fostering creative talent and celebrating storytelling’s transformative impact. Saksena shared, “We are thrilled to have such an exceptional panel of jurors, each bringing a unique perspective and deep understanding of storytelling. Their expertise and passion for cinema will undoubtedly enrich the festival and set the stage for discovering groundbreaking talent. The Red Lorry Film Festival is not just a celebration of films; it’s a platform that champions diverse voices, nurtures creativity and showcases the transformative power of storytelling. Audiences can look forward to an extraordinary experience that pushes the boundaries of cinematic innovation and inspires meaningful conversations.”

    Cinephiles can secure their festival passes exclusively on BookMyShow, starting at Rs 750. With a lineup that includes cultural performances, food zones, and tech showcases, the event promises an unforgettable cinematic journey.

    Key highlights of Red Lorry Film Festival 2025

    1    Competition Segment: Celebrating exceptional films in two categories.
    2    Music Concert: Featuring a top artist on Valentine’s Day.
    3    Global Cinema: Over 120 titles across languages and genres.
    4    Immersive Experiences: Cultural performances, travel competitions, and more

    For filmmakers and cinema lovers, true triumph lies not just in box-office millions but in the art of storytelling being seen, celebrated, and revered. This festival is your stage to shine, your story’s moment to connect with a global audience, and your chance to be part of a legacy of cinematic brilliance.

    Don’t let this opportunity pass – submit your films, secure your tickets, and step into the spotlight of recognition.

    The world is ready to applaud your story; all it takes is your first act.

    https://in.bookmyshow.com/events/red-lorry-film-festival/ET00418784

  • Drishyam Films to kick-start ‘The Masters’ series with Sriram Raghavan

    Drishyam Films to kick-start ‘The Masters’ series with Sriram Raghavan

    MUMBAI: Drishyam Films will be hosting screenings and interactions with noted filmmakers, cinematographers, editors and producers titled as The Masters. The monthly series is an effort to give the audiences and film buffs a unique and enriching cinematic experience. 

     

    The series will kick-start with the screening of Raman Raghav and will be followed by a master class by director Sriram Raghavan. The two-part made for video series will be introduced by filmmaker and director Atul Sabharwal. The sequence comes from the year 1991 based on the true story of a serial killer. The series will outlay the successful investigations of the Stoneman murders that took place in the 1960s, drawing from official police case files.

     

    The screening will take place on 21 October, 2015 at PVR Citimall Andheri at 8 pm.

     

    “This is a one-of-a-kind initiative by us to reinvent the way master filmmakers interact with their audiences as well as aspiring filmmakers. We are sure that this will be an exciting opportunity for both to have a lively and fruitful exchange every month,” said Drishyam Films CEO Shiladitya Bora. 

     

    This is the first theatrical outing of the series, exclusive to early bird registrations. The event will be free and open to all, based on a first-come-first serve basis. The registrations can be made at http://www.drishyamfilms.com/events/. 

  • Aurangzeb: Just another duplicate drama

    Aurangzeb: Just another duplicate drama

    MUMBAI: This is only his second film and Arjun Kapoor has been cast in a double role in Aurangzeb. For its content, the writer-director Atul Sabharwal dips into two old-time classics, China Town (which has inspired many twin brothers lost-and-found movies) and Yash Raj‘s own Trishul. This gives him scope to pen a drama with some veterans in the cast.

    Jackie Shroff rules the underworld around Gurgaon, a small town in the shadow of Delhi which has grown into a mini-metropolis. With construction and corporate houses mushrooming all over, his might and power help seal all deals. He is aided by his son Ajay (Arjun Kapoor), an uncouth and aggressive youth. Also on his team is Amrita Singh, Shroff‘s fixer-cum-concubine who is known to use girls to get things done. Singh, while helping Shroff build his empire, is also plotting against him so that eventually she and her son, Sikandar Berry, can grab it.

    Besides enemies within his camp, always on Shroff‘s trail with a resolve to finish him is the local DCP, Rishi Kapoor, with his nephew and ACP, Prithviraj Sukumaran, being his ardent follower and aide. Kapoor wields huge power as he controls the ‘collection‘ operations, the funds which percolate through the system, eventually reaching the top bosses. Anupam Kher, Sukumaran‘s father and Kapoor‘s elder brother, asks his son to fulfil one obligation, to look after his second family, a woman, Tanvi Azmi and her son, Vishal (Arjun Kapoor). When Kapoor sees that Vishal and Ajay are lookalikes, he decides to switch their places. Vishal is told that Shroff is his real father who was responsible for the situation he and Azmi are.

    Besides his father, Vishal also inherits Ajay‘s live-in girlfriend, Sashaa Agha, and he has no scruples sleeping with her for, as he justifies it, he had fallen in love with her at first sight. In this film full of schemers and plotters, she is also a plant, put in by Singh to destroy Ajay with drugs and alcohol. She, on her part, loved Ajay and now readily loves Vishal too. She is in the film as a pretext of being a female lead but is soon sacrificed as the script has nothing to justify her presence in the film.

    Rishi Kapoor, the DCP, has a problem on his hand. His plant at Shroff‘s has turned sides and he won‘t betray Shroff or help the police in any way. Instead, in true Godfather style, he decides to defend Shroff and his empire and get rid of Singh, Kher and the others. Meanwhile, Rishi Kapoor and his gang of loyal cops are busy making sure he still rules after his retirement which is due in few months. After all, if Shroff and his clout are destroyed, the town will need a new power broker. Rishi Kapoor is ready for that role. In the war between cops and robbers, finally, all end up on the same side.

    The script creates some confusion on the way as it delves into relations. There is no emotion to draw women in the film, which was a strong point of films like Trishul and Deewaar. Here, in fact, women characters are more negative. The music does not help in anyway. Direction is just passable as one does not totally connect with the characters or the events. The choice of the girl, even if her role is insignificant, is surprising to say the least; she is not cut out for the screen, big or small. While Arjun Kapoor is generally good in both roles, his unkempt look does not work; uncouth need not be ugly. Prithviraj has a major role and the only consistent one which he does extremely well. Rishi Kapoor, Shroff and Singh are sincere with their parts. Azmi is okay. Bhaskar, Naval and Berry support well.
    Aurangzeb has had little promotion and the opening response is not encouraging.
     
    I Don‘t Luv U: A dowdy college romanc

    I Don‘t Luv U is an attempt at modern-day college campus romance and how the electronic revolution, cell phone as well as media, is misused. While the film introduces some new faces, it also brings in some fresh funds in production sector, thanks to a Delhi construction company.

    Ruslan Mumtaz moves around in his Delhi college campus with his three buddies, Jas Bhatia, Rohit Sharma and Shashwat. The common agenda of all four is to find girls. The college has a new entrant, Chetna Pande, probably disillusioned by the education system in UK. She joins this college in Delhi where students still look stuck in the 1960s filmy college groove. They crack jokes on tutors, laugh for no reason and swoon at girls.

    Mumtaz decides to score with Pande which accounts for most of first half of the film. His idea is that they both should just hang out together and have fun since he does not love her. Of course, like in all films, they are gradually falling in love even if they deny it. One day, Pande invites Mumtaz to see her dance at her house! Mumtaz shoots a MMS clip while she dances. Aroused by her dancing, he joins her with not very good intent and all the while his cell phone is still shooting the video.

    Soon, in a totally contrived way, the video clip is leaked to the college first and later, in a totally altered version, on a TV news channel seeking some primetime TRP. The girl is shamed, the boy is arrested and later jumps to his death from the fourth floor only to survive for a happy ending.

    This is a lesson in how not to make films.