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Priyanka Chopra: There should be more category for foreign language films at Oscars

Agencies
July 15, 2017

Mumbai, Jul 15: Actress Priyanka Chopra today said that Academy should broaden its category when it comes to giving recognition to foreign language films at the Oscars.priyanka copy

Priyanka is one of the newest members the Academy of Motion Picture of Arts & Sciences (AMPAS).

"I am grateful to the Academy for including such diverse amount of people from around the world. They ask us our opinions when we are the member of the academy. My view and opinion is that it opens itself up to nominations for foreign language films outside of just one category," Priyanka told.

"I hope that is something which happens because there are so many films which come from the world, even Indian films. When our talent has won awards, it has been for films not made by India, because the opportunities are less. I hope that is something that changes and I hope I can contribute to that."

Apart from Priyanka, other Indian stars who have been invited to join the Academy and vote in the Oscars include the likes of Amitabh Bachchan, Aamir Khan, Aishwarya Rai Bachchan, Goutam Ghose, Buddhadeb Dasgupta, Salman Khan, Irrfan Khan and Deepika Padukone.

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Agencies
July 31,2020

New Delhi, Jul 31: After an FIR was registered against her in various sections including abetment of suicide in the Sushant Singh Rajput death case, actor Rhea Chakraborty on Friday said that she has faith in the judiciary and she will get justice.

In a video statement issued by her lawyers, the actor refrained from commenting on "horrible things" being said against her saying that the matter is sub judice. 

“I have immense faith in God and the judiciary. I believe that I will get justice. Even though horrible things are being said about me in the electronic media. I refrain from commenting on the advice of my lawyers as the matter is sub judice. Satyamev Jayate. The truth shall prevail," Chakraborty said in the video statement. 

An FIR was filed by Rajput's father KK Singh against Chakraborty in Bihar under several sections including abetment of suicide.

Days after Rajput's death, Chakraborty said she was the "girlfriend" of the 'Dil Bechara' actor while requesting a CBI inquiry in the case.

Rajput was found dead in his Mumbai residence on June 14.

Chakraborty has also approached the Supreme Court for transfer of investigation to Mumbai in the FIR registered against her in Patna. 

Earlier in the day, targeting Chakraborty over Rajput's death, Bihar Minister and JD-U leader Maheshwar Hazari said she played the role of "vishkanya" and alleged that there is a "big gang" behind the "killing" of the actor.

"There is a big gang behind the killing of Sushant Singh Rajput. Earlier also talented people who went to Mumbai for work were killed. This gang used Rhea Chakraborty. She trapped Sushant Singh Rajput in a love affair, got his money transferred. Later, she started drama of 'bhoot pret' (ghosts) and played the role of a 'vishkanya'. She sabotaged his talent and defamed love," Hazari said.

According to the Maharashtra police, statements of 41 people, including filmmaker Mahesh Bhatt, film critic Rajeev Masand, director-producer Sanjay Leela Bhansali, and filmmaker Aditya Chopra have been recorded in the investigation so far.

Maharashtra Home Minister Anil Deshmukh had said that Mumbai Police are investigating the case and it will not be transferred to the CBI. 

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Agencies
August 4,2020

New York, Aug 4: National Award-winning documentary "Son Rise" and Geetu Mohandas-directed "Moothon" were among the films that took home the big honours at the 20th New York Indian Film Festival (NYIFF), which switched to a virtual edition this year amid the ongoing Covid-19 pandemic.

Over 45 feature-length narratives, shorts and documentaries from the Indian subcontinent were showcased at the festival’s virtual edition that ran for 10 days beginning July 24.

The films programmed were in various languages including Assamese, Bengali, Haryanvi, Hindi, English, Ladakhi, Maithili, Malayalam, Marathi, Nepali and Tamil.

The award ceremony for the festival was held virtually Sunday, with the filmmakers, cast, award winners and festival officials joining from across India and the US.

The award for the Best Documentary (Short) went to Saurav Vishnu-directed "Tailing Pond", which highlights the "horrifying effects of uranium extraction on the health of the indigenous population" of Jadugoda, Jharkhand.

"Son Rise" by Vibha Bakshi won the award for Best Documentary (Feature).

The documentary had won the National Award for the Best non-feature film in 2019 and was among the two centrepieces hosted by the festival this year. NYIFF called "Son Rise" “a powerful documentary about patriarchy in Haryana and efforts by a few good men to bring meaningful change in the society.”

The award for Best Short (Narrative) went to Sanat Ganu's "Arabian Nights". The narrative focuses on a child, his imaginary friend and a family that attends a conference where the attendees believe the earth is flat.

Director and scriptwriter Sudhanshu Saria accepted the award for Best Screenplay for "Knock Knock Knock". Saria’s screenplay “explores the lonely life of a man, an unlikely friendship that may or may not be real.”

Sanjana Dipu won the award for Best Child Actor for "Moothon" for her performance of a teenager in search of a brother.

Garggi Ananthan won the Best Actress award for her role as Kalyani in the film "Run Kalyani" and the Best Actor award went to Malayalam star Nivin Pauly for "Moothon". The award for the Best Director went to 23-year old Achal Mishra for "Gamak Ghar".

"Moothon" won the award for Best Film and its director Mohandas accepted the award for the film, which is "about love and loss that travels from the quiet, lush beaches of Lakshadweep to the mad hustle-bustle of the streets of Mumbai."

Produced by award-winning Indian film director and writer Anurag Kashyap, "Moothon" had premiered at last year’s Toronto International Film Festival.

NYIFF festival director Aseem Chhabra said that the process of searching for films for the festival began last fall and they were ready to showcase them to audiences in New York in April but had to change plans for the festival due to the pandemic.

"I know the best way to enjoy films is in a theatre with the audience and have live interactions, conversations. But the virtual festival is the next best option and in the process, we have been able to reach out to a much larger audience in the US, North America as well in several other countries.”

NYIFF said that a virtual edition expanded the reach of the festival and audiences from 95 countries were able to access and view the films.

Dr Nirmal Mattoo, Chairman of the Indo-American Arts Council, co-founder and owner of Atlantic Dialysis Management services, the largest private dialysis provider in New York State, said NYIFF works with an independent jury - filmmakers, film professors, writers and critics.

Indo-American Arts Council (IAAC), the leading cultural organisation, presents the festival.

"The Covid-19 pandemic has forced the closure of theatres but we believe that in such trying times arts, including films are even more important for the community’s well-being. So, this year we have decided to bring the films directly into your living rooms.” IAAC Vice-Chairman Rakesh Kaul had said.

The New York Indian Film Festival is the oldest Indian film event in North America. Over the years, the festival has held New York premieres of a wide range of films, many of them critically acclaimed, including "Monsoon Wedding", "The Namesake", "Slumdog Millionaire", "Shahid", "Dum Laga Ke Haisha" and "Gangs of Wasseypur". 

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News Network
February 10,2020

Feb 10: Bong Joon-ho’s film “Parasite” starts in a dingy, half-basement apartment with a family of four barely able to scratch out a life. There must be no place to go but up, right? Yes and no. There’s nothing predictable when the South Korean director is on his game.

This dark, socially conscious film about the intertwining of two families is an intricately plotted, adult thriller. We can go up, for sure, but Bong can also take us deeper down. There’s always an extra floor somewhere in this masterpiece.

It tells the story of the impoverished four-person Kim family who, one by one, and with careful and devious planning, all get employed by the four-person affluent Park family — as a tutor, an art teacher, a driver and a housekeeper. They are imposters stunned by the way wealth can make things easier: “Money is an iron. It smooths out all the creases,” says the Park patriarch with wonder.

Bong, who directed and wrote the story for “Parasite,” has picked his title carefully, of course. Naturally, he’s alluding to the sycophantic relationship by a clan of scammers to the clueless rich who have unwittingly opened the doors of their home on a hill. But it’s not that simple. The rich family seem incapable of doing anything — from dishes to sex — without help. Who’s scamming who?

Bong’s previous films play with film genres and never hide their social commentary — think of the environmentalist pig-caper “Okja” and the dystopian sci-fi global warming scream “Snowpiercer.” But this time, Bong’s canvas is a thousand times smaller and his focus light-years more intense. There are no CGI train chases on mountains or car chases through cities. (There is also, thankfully, 100% less Tilda Swinton, a frequent, over-the-top Bong collaborator.

The two Korean families first make contact when a friend of the Kim’s son asks him to take over English lessons for the Park daughter. Soon the son (a dreamy Choi Woo-sik) convinces them to hire his sister (the excellent Park So-dam) as an art teacher, but doesn’t reveal it’s his sis. She forges her diploma and spews arty nonsense she learned on the internet, impressing the polite but firm Park matriarch (a superb Jo Yeo-jeong.)

The Park’s regular chauffer is soon let go and replaced by the Kim patriarch (a steely Lee Sun-kyun). Ditto the housemaid, who is dumped in favor of the Kims’ mother (a feisty Jang Hye-jin.) All eight people seem happy with the new arrangement until Bong reveals a twist: There are more parasites than you imagined. The clean, impeccably furnished Park home will have some blood splashing about.

Bong’s trademark slapstick is still here but the rough edges of his often too-loud lessons are shaved down nicely and his actors step forward. “Keep it focused,” the Kim’s son counsels his father at one point. Bong has followed that advice.

There are typically dazzling Bong touches throughout. Just look for all the insect references — stink bugs at the beginning to flies at the end, and a preoccupation with odor across the frames. And there’s a scene in which the rich matriarch skillfully winds noodles in a bowl while, in another room, duct tape is being wrapped around a victim and classical music plays.

Bong could have been more strident in his social critique but hasn’t. There are no villains in “Parasite” — and also no heroes. Both families are forever broken after chafing against each other, a bleak message about the classes ever really co-existing (Take that, “Downton Abbey”).

“Parasite” is a worthy winner of the Palme d’Or at the Cannes Film Festival, the first South Korean movie to win the prestigious top prize. The director has called it an “unstoppably fierce tragicomedy.” We just call it brilliant.

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