Archive for the ‘Events/Current Affairs’ Category

Certificate course in City Narratives

May 11, 2010 Leave a comment

Majlis Bombay announces a Certificate Course on City Narratives in Cinema and Literature

Dates: 9th July to 12th October 2010

For details, please visit:

Hurry! Last date to apply 7th June 2010

Organised by Majlis, Maxmuller Bhavan Mumbai and SNDT Women’s University


Filmmaker P. Baburaj traces his cinematic journey with recently deceased activist and filmmaker C. Saratchandran

May 10, 2010 Leave a comment

Source : Time Out Delhi ISSUE 3 Friday, April 30, 2010

P Baburaj remembers C Saratchandran, the filmmaker and activist who died in a freak accident in April.

The personal, professional and political were all so tightly woven together in the documentary filmmaker Chandrasekharan Saratchandran that it was impossible to separate one from the other. Saratchandran died in a freak accident on April 1 – he fell off a moving passenger train while returning to his Ernakulam home from a wedding. The 52-year-old director and environmental activist was a well-known name, especially in Kerala, where he participated in several popular movements against the government and corporations, made many documentaries, and tirelessly promoted world cinema and documentaries by organising screenings. Documentary filmmakers in several cities are planning tributes to Saratchandran. In Delhi, Kriti Club and the Delhi Film Archive will organise screenings of two of his films at the India Habitat Centre.

Before becoming a filmmaker in the 1980s, Saratchandran assisted leading Malayali offbeat filmmakers like John Abraham and G Aravindan. He made four films with P Baburaj, including the acclaimed Chaliyar…The Final Struggle, and The Bitter Drink. Baburaj tells Time Out about the influences on Saratchandran’s work, and his contribution to the state’s film and political cultures.

“Saratchandran, KP Sasi and I were all born in 1952. My father, C Unniraja was one of the first Communists in Kerala. Sasi’s grandfather MP Manmadhan, is one of the great Gandhians of the state and his father Chandrasekharan Nair is one of the leading Hindi scholars of Kerala. Sasi’s father is K Damodaran. So activism runs in our blood, but we all chose a different path – neither Marx nor Gandhi.

Sarat had always sought an alternative to the mainstream, whether it was in films or art or developmental issues. I met him around 1983 while he was working on a feature film. It was a culturally and politically active period in Kerala. There were alternative poets and magazines, John Abraham [a Malayali filmmaker] was active. Sarat and I later assisted Sasi on Living in Fear, about the hazards of radiation caused by the company Indian Rare Earths in Kerala. We became close friends and associates.

Both of us were a part of emerging non-party political movements linked to human rights and the environment in the ’80s. Sarat had a video camera which he was using to document meetings and campaigns. The VHS camera had mostly been used to shoot weddings, but Sarat made three documentaries with it. One was Save Western Ghats March – The Kerala Experience. Then a film about a campaign against a hydroelectric dam, called No Two Big Dams. Then Before Everything Heads, about several developmental issues in Kerala.

In between, Sarat went to work as an educational consultant at the British Council office in Riyadh. His idea was to save money for equipment. He returned in 1998 with a digital camera. I was working with Sasi in Delhi at the time. Sarat and I decided to document alternative initiatives in Kerala. An agitation against industrial pollution in Mavoor was going on, so we went there and shot a film, which later became Chaliyar… The Final Struggle.

Before we actually started working together, we decided that we wouldn’t make weepy documentaries, but instead focus on showing collective action. As concerned citizens, we were also involved with these struggles. So the films followed our social involvement. The Chaliyar film won us the certificate of merit at the Mumbai International Festival of Films in 2000, which established us as a filmmaking duo of reasonable repute.

No two people could be any more different. Our concept of cinema is as different as our physique – I’m much taller than he was. Our films developed through intense arguments. We would shoot and argue, edit and argue. The strength of the four films we made together, apart from the issues we took up, was the constant arguments.

Sarat was working on several projects when he died. He was shooting for Sasi’s documentary on Kandhamal. We had finished about 70 per cent of a sequel to the Chaliyar film. We were also working on two more documentaries, and he was making a documentary on his own. I plan to complete all the films.

Sarat was also the founder of Nottam, a touring festival of documentaries. Earlier, he used to show world cinema classics from his collection all over the place, to film societies, schools and reading rooms. Then Sasi suggested that he start showing documentaries too. Sarat dubbed Anand Patwardhan’s Ram Ke Naam into Malayalam and showed it in Kerala. He showed the films of people like Amar Kanwar and Sanjay Kak. A friend of ours called C Venkateshwaran wrote an article in The Hindu calling Sarat a ‘conduit of images of resistance from all over the world’.

He had gone from Ernakulam to Thrissur to attend the wedding of a close friend. The train he took to return was very crowded, and he seems to have fallen off onto the tracks. I got a call from his wife at 2.15 in the morning. For days, I was haunted by the image of him falling from the train.”

As told to Nandini Ramnath

Retrospective of Saratchandran’s films

May 5, 2010 1 comment

We invite you for

A man with a 1000 dreams: Remembering C Saratchandran
(A retrospective of Sartchandran’s films.)

Venue: Centre for Film and Drama,Millers road , Bangalore
Date: 8th May, Saturday
Time: 4.30pm – 8.30 pm

C. Saratchandran (1958 – 2010)

A civil rights activist and a documentary film maker, C Saratchandran has been an inspiration and a great support for all individuals and organizations that screened issue-based documentaries across the country. He has reached out to many, both through the medium of films and with his most democratic personal politics.

Throughout his life, Sarat has shown us the significant role a film maker plays in social change and how powerful a camera can be as an agent of such change. Untiringly he had screened documentaries throughout the length and breadth of Kerala about several socio- political issues.

Educated at M.G College Thiruvananthapuram and Dharmadam, Saratchandran was part of a movement against emergency. He learnt film making from John Abraham and G Aravindan. He started documenting social struggles in ’80s and was often involved in the struggles he set out to document.

We invite you to be a part of this programme in solidarity and remembrance of an environmentalist, activist and film maker who has a body of work that will live on forever. The screening of the following films made by Saratchandran as a part of an evening of remembrance and dedication to the life of Sarat.


Time: 4.30 pm – 5 pm
Chaliyar… The final struggle (1999)
Dir: P. Baburaj & C. Saratchandran
35 mins/ English

A river, her people and a factory that gobbles all precious natural resources and pollutes the land lives, form the principal characters of this video film.

Special Mention, MIFF 2000
The Bronze Tree Award, Vatavaran 2002

Time: 5 pm – 6 pm
Thousand Days and a Dream (2006)
Dir: P. Baburaj & C. Saratchandran
77 mins/ English

On the four and a half years old anti-Coca Cola struggle in Plachimada, Kerala. Perhaps, no other agitation in recent times in Kerala has attracted national and global attention like this one. The film captures the spirit of the struggle, traces the history and discusses the several issues raised by the struggle. It also documents the poignant moments of the struggle and shares the dreams and sorrows of some of the active participants of the struggle.

10th Mumbai International Film Festival (MIFF) Indian Jury Award Winner.

Time: 6pm- 6.15 pm

Tea break

Time: 6.15 – 6.45 pm

Remembering Saratchandran – friends of Sarat sharing their memories
Time: 6.45 – 8.30 pm

Your’s Truly John (2008)
Dir: C. Saratchandran
100 mins / English subtitles

A video essay on the many faceted life of John Abraham, the film maker. Over 50 of his friends and close associates speak about him and discuss his films and creative life. This documentary brings us closer to the person who lived the life on the edge, through reminiscence of those who were close to him

Organised By
Vikalp Bengaluru, Pedestrian Pictures, Maraa, Bangalore film society, Grass root media, PUCL(K),PDF, Alternative Law Forum , SICHREM, Vimochana, Samvada, Environment support group, Samanatha Mahila Vedike, Karnataka Janapara Vedike, Sthree Jagruthi,

For further details Contact Deepu- 9448367627, Sushama Veerappa- 9845766808 ,Johnson Rajkumar -9886126064

In memory of C. Saratchandran!

May 4, 2010 Leave a comment

Remembering documentary film maker & civil rights activist C. Saratchandran by screening his following films : organised by the Delhi Film Archive & Kriti Film Club

Venue: Habitat World, India Habitat Centre ( IHC ), Lodhi Road, New Delhi-110003
Date: 7th May 2010Time: 7:00 pm
Entry: Free

The Bitter Drink

English (subtitled), 26 min, 2003, India

The people of Plachimada, Kerala take on the Coca-Cola corporation in a David an Goliath battle.

To Die For Land – The Ultimate Sacrifice

English (subtitled), 29 min, 2003, India

The film captures the adivasi land struggle in Chengara, Kerala. Located in Patnamthitta district, Chengara is witness to the occupation by 20000 adivasis of over 2000 acres of land belonging to Harrison Malayalam Company Ltd. For the adivasis who took over this commercial tea plantation land, the occupation is a defiant way to highlight their situation. Over the years, plantation companies with the active support of the government have ensured that the adivasis are now alienated from land that they once called their homes.

To order copies of the film, The Bitter Drink, write to us at:

For other films by C. Saratchandran, log on to: Films by C. Saratchandran

Cinema Urbanism: A session on understanding cities in cinema

April 29, 2010 Leave a comment

Date: Friday, April 30, 2010
: 7.00 p.m

Venue: Siddhartha Hall, Goethe-Institut/ Max Mueller Bhavan, 3, Kasturba Gandhi Marg, New Delhi

CITIES, real or imaginary, have always been integral to cinema, as the stage where its stories play out. The urban spaces in cinema are not just a backdrop to the narrative, but a part of it. Films understand and capture these spaces in a manner more intense and perceptible than architects and urban planners.

Through three evenings, the Goethe-Institut / Max Mueller Bhavan and arch i platform invite you to a journey through a range of urban spaces and a progression of time periods. In this process the audience will be guided by film experts, who will engage with them, by raising critical questions and presenting new perspectives. CU is not just a screening but an attempt to put architecture and cinema in dialogue.

THE FORMAT of the session will be a discussion or an open dialogue between the expert and the audience. Through various film clips, the experts will discuss a particular aspect of cities and architecture in cinema.

All three experts for the three evenings have varying fields of study and interest. They include a film maker, theorist on film studies and an architect. Consequently, the audience will also be eclectic, ranging from architects to photographers, film makers, or simply film enthusiasts.

Session ONE

Date: 30 April, 7pm
Speaker : Ms. Ranjani Mazumdar

Title : Cinematic City – An introduction to understanding cities in cinema

About the speaker: She is not only an Associate Professor of Cinema Studies at the School of Arts & Aesthetics, Jawaharlal Nehru University but also an independent film maker and author of the book “Bombay Cinema, An Archive of the City.

Session TWO
Date: 7 May, 7pm
Speaker : Mr. Aftab Jalia
Title : Nothing comes out of Nothing – Fantasy, Utopia and Dystopia

About the speaker:
He is an alumnus of the Aga Khan Program for Islamic Architecture at the Massachusetts Institute of Technology. Beyond his interests in contemporary architecture, he is an ardent observer of parallel graphic expression – including comics, movies and architecture.

Session THREE
Date: 14 May, 7pm
Speaker : Ms. Ein Lall

Title : Rural Virgin, Urban Whore – The Great Indian Divide

About the speaker:

She has used the video documentary to celebrate the unique strength and creativity of women and has directed several films which have participated in various international film festivals.

For details please contact 011 – 23471112/10.

Satyajit Ray Film Festival: Taj Enlighten Film Society

April 29, 2010 Leave a comment

The information and content has not been written by the author, but has been pasted here, with permission from the official sources, to spread the news to as many people possible for the upcoming event.

Taj Enlighten Film Society presents the “Satyajit Ray Festival”

‘Satyajit Ray Festival’ will be held at Cinemax, Metro Big Cinemas and NCPA 2nd May –16 th May, 2010. Presented by Brooke Bond Taj Mahal

26th April 2010, Mumbai: The Taj Enlighten Film Society presents “The Satyajit Ray Festival”, a festival showcasing films, of the great master, of an icon that changed the face of World cinema. Beginning 2nd May 2010, which is the 89th birth anniversary of the filmmaker the society will screen Ray’s films namely Agantuk (The Stranger), Jalsaghar (The Music Room) and Charulata (The Lonely Wife) every Sunday at 10am at Cinemax, Metro Big Cinemas and NCPA. Presented by Brooke Bond Taj Mahal, the festival will recreate Ray’s magic on the silver screen for all the filmmaker’s fans and film enthusiasts. Directors of various backgrounds from across the country will discuss his outstanding contribution to the world of cinema after every film.

Pranav Ashar, President of the Taj Enlighten Film Society said, “Since we began our film society, we have had many requests to do a Satyajit Ray film festival. We have never received such a response immediately after announcing a festival. After this overwhelming response, we are already planning to extend and enhance the experience of the festival by adding the famous Apu TrilogyPather Panchali (Song of the Little Road), Aparajito (The Unvanquished) and Apur Sansar (The World of Apu).”

Speaking on the occasion, Arun Srinivas, Category Head – Beverages, HUL said, “Our association with Enlighten Film Society resonates our spirit of excellence. We at Taj Enlighten Society offer a platform to the best in the world of cinema.”

The Satyajit Ray Film Festival, which is set to take place in Mumabi From May 2nd to 16th May, 2010, will be a landmark celebration of the history movies, presented in a way that only Enlighten can, with major events, celebrity appearances, panel discussions and more. The festival will also provide movie fans a rare opportunity to experience some of cinema’s greatest works as they were meant to be seen – on the big screen. Enlighten will announce additional special events, guests and programming in the weeks and months ahead.

The festival will kick start with the film “Agantuk” Satyajit Ray’s last film after which he won the Honorary Oscar. “A graceful comedy made in a serene, classical style… we can still hear in its message the voice of a great artist!” stated The New Yorker.

This will be followed by the screening of “Jalsaghar”, which is considered one the best works of Ray by many. Charulata the winner of the Silver Bear at the Berlin Film Festival next which will mark the end of the first part of the the satyajit ray film festival. The Apu Triology will be screened in the second part of the festival on June 28th, 29th and 30th with panel discussions and social events.

The Film Festival Pass: Rs.500:
Includes all films at the festival and attendance to the extended film festival in June.

Full Half Yearly Access :Rs. 1200:
Attendance at all Taj Enlighten Film Society screenings for six months including the Satyajit Ray Film Festival.

Full Yearly Access :Rs. 1500:
Attendance at all Taj Enlighten Film Society screenings for one full year including the Satyajit Ray Film Festival and also including panel discussions, social events.

For memberships visit or call 02242141414

SCHEDULE FOR Satyajit Ray Festival

Cinemax Versova (10am)
2nd May-Agantuk
9th May-Jalsagar
16th May-Charulata

Metro Big Cinemas (10am)
2nd May- Jalsagar
9th May- Charulata
16th May- Agantuk

The Extended Satyajit Ray Festival – Back to back for 3 days in the month of June – The Apu Triology at the National Centre of Performing Arts (NCPA).
28th June- Pather Panchali
29th- June-Aparajito
30th-June-Apur Sansar

For more information, contact:
Tanvi Shah
Enlighten Film Society
Mobile: +91 9870090105

Out of the Box: An article in Mid-Day, Mumbai!

April 28, 2010 Leave a comment

Out of the box

Source: Mid-Day, Mumbai

By: Paromita Vohra

Date: 2010-04-25

Place: Mumbai

At a film screening earlier this week, an auditorium full of people settled down to watch a short and a documentary about courtship and marriage. The short film, featured two kisses that had stuck in the maw of the censor board (who finally gave it an A certificate) and some discussion ensued about whether this made sense to the audience or not — were the kisses prurient? Should U certified films not contain such intimacies for fear of corrupting families (why ask how families are produced in the first place, baba, what indecency!)?

Suddenly a perky young man plaintively asked “But how come there was there no homosexual kissing?” A minute of perplexed silence — it was a film about a man proposing to a woman two weeks before her wedding to another man. Even two years ago people would have been uncomfortable at best, censorious at worst — not saying the question was “bad” but that it was “silly” — which is so often liberal people’s pompous way of avoiding talk of sex. However, very quickly the audience understood that the unfortunate chap had perhaps thought he was attending a queer film festival that was to kickstart at the same venue two days later and he was helpfully and kindly enlightened. He lapsed into his seat resigned and watched the next film with dark glasses on, maybe to ensure that none of his cooler friends recognised him in this primarily heterosexual audience — which is perfectly understandable.

Within one month the city has hosted two queer film festivals — Queer Nazariya in early April and the ongoing Kashish Queer Film Fest. Kashish is a tempting array of the political, the romantic, the issue-based and the whimsical from around the world — putting on an equal footing, unlike most film festivals in the country, documentaries, shorts, features, campaigns and music videos. The programming messes with both, the strict political categories of how sexuality is understood, and the way the market and the government divide art forms into creative hierarchies.

If only this form-free continuum could enter our public and personal understanding of sexuality too. In a superb interview, Bengali filmmaker Rituparno Ghosh while discussing his acting turn in a film as a transgender performer said: Section 377 has created a polarity between homosexuals and heterosexuals. It doesn’t deal with the entire matrix of sexualities in between these two polars — that’s where androgyny lies.”

This is a vital thought that touches everyone’s intimate selves. While years of activism have finally made it possible to talk about gay-ness and bisexuality, there is a fear it may remain in a separated, though vocal discussion space. But right now, heterosexuality is perhaps the most unthinkingly boxed up of all. Between the moral police and a fake sense of freedom that comes from belonging to a “normal” or mainstream identity, we hardly raise questions about the sexual and erotic nature of heterosexual experience; Couple-dom and monogamy, single only till married, seem to be the only sexual choices we discuss — we hardly talk about the many ways of being straight sexual beings that are actually practised by people. We allow a censor board to tell us we cannot watch a kiss, that wonderful open quotation mark of desire, for fear of obscenity corrupting us. As if the market dictated ideas of plastic love, conformist gym-made bodies and the salacious eye of reality television had not corrupted and distorted our relationship with a most human part of ourselves.

Hopefully the Cinematograph Act will take off its dark glasses soon. Meanwhile, we must keep searching for a more fluid art, more porous definitions through which to celebrate our many ways of living and desiring in this world.

Paromita Vohra is an award-winning Mumbai-based filmmaker, writer, teacher and curator working with fiction and non-fiction. She runs Devi Pictures production company. Reach her at