Chetan Bhagat, il popolare scrittore indiano di bestseller, in questi giorni sta promuovendo il suo saggio, What young India wants edito da Rupa & Co. Bhagat è idolatrato da una folla di sostenitori ammaliati dalla visione occidentalizzata dell'India rappresentata nei suoi tiepidi romanzi, ed è, di contro, detestato da larga parte della scena intellettuale del suo Paese. La polemica di oggi che lo vede protagonista è partita da un articolo apparso sul numero di Tehelka del 18 agosto 2012. Il titolo è tutto un programma: Leading the Idiocracy. In Twitter si è già scatenata la bagarre...
11 agosto 2012
Long Live Cinema ieri ha pubblicato l'intervista concessa dalla giornalista Anna M.M. Vetticad, nella quale viene presentato il suo saggio: The adventures of an intrepid film critic, in distribuzione a partire dal 27 agosto 2012, edito da Om Books International. Le dichiarazioni rilasciate da Anna sono piuttosto interessanti: 'The women have to stand up to the system in the Hindi film industry and not accept being treated like mere objects. Just this week, look at Sunny Leone in Jism 2. I know she is an outsider, but doesn’t Sunny Leone realize when she sees the film that the role has not been given to her but to her chest? Yes, she is originally a porn star but wasn’t this her effort to go mainstream? And think about it, Jism 2 has been directed by a woman! So women also need to share responsibility along with the men and stop mere objectification of themselves. (...) I think where Kareena (Kapoor) is doing a disservice to her own talent and charisma and to the position of women in the industry is when she makes it a selling point that she has acted with all the Khans. Of course it’s true that she has, but to make that a selling point is being unfair to herself when you don’t see any of the Khans tomtomming the fact that they have acted with the top 5 heroines in the industry'.
DearCinema ieri ha pubblicato un'intervista concessa da Ajita Suchitra Veera, regista di Rustom Ki Dastaan, recentemente proiettato all'Osian Cinefan Film Festival di Delhi, e dove Ajita si è aggiudicata il premio per la miglior regia nella sezione indiana. 'I wanted to break the clichéd perception of people coming from small towns and let people see that they can also be artists, innovators, have intelligence and imagination and a zest for life. I think Ballad of Rustom is contemporary in many ways - it is subtly talking about the changing Indian landscape: the growth of cities, the disappearing natural worlds which are rich and mysterious and so important to India and the agrarian communities with their own folk stories, music and myths - the farmers and other town folk. The people of the soil who come from these very spaces and who can be silent, imaginative, innovative and full of ideas, are often overlooked'. Sito ufficiale di RKD.
Qualche mese fa vi avevamo annunciato Zinda Bhaag, il film pachistano interpretato da Naseeruddin Shah (clicca qui). Il 9 agosto 2012 Business of Cinema ha pubblicato un articolo nel quale riporta le dichiarazioni del produttore e dei registi del film. Scopriamo così alcuni aspetti interessanti relativi non solo alla genesi della pellicola ma anche alla nuova scena cinematografica pachistana: 'It was a challenge to go for a feature film in Pakistan. The whole film industry has collapsed. No technical facilities are available. Nor are actors available. (...) As acting talent was not handy, they invited Naseeruddin Shah to conduct workshops with non-actors. The film, to be released in December, takes up the sensitive issue of illegal immigration, a burning topic in Pakistan. As the team researched on the reasons for youngsters taking the risk of illegal migration and visited neighbourhoods in Lahore to meet such youngsters, they realised that there were areas where each family had a story to tell. The topic was too close to these youngsters and their families and thus it made sense to cast these youngsters in the film, aided by some training in acting'. Quanto ai titoli del nuovo cinema pachistano 'were equally popular as any mainstream entertainment film and these bold subjects were, in fact, financially viable. Also, the categorisation between multiplex audiences and single-screen audiences was not as stark as in India, they said. They, however, admitted that in the absence of organised financing for new cinema, it remained to be seen if this movement could sustain. An interesting aspect of filmmaking they highlighted was a vibrant trend of very small budget movies in regional languages like Saraiki and Pashto, shot on small digital cameras and released in neighbourhoods. Nabi (il produttore) emphasised that as state support for the film industry dried up over the decades, something else emerged: a thriving DVD and CD industry showing regional films to families at home. (...) Claiming that government apathy, excessive taxation and strange censorship laws had led to the downfall of the Pakistani film industry in the first place, the team claimed that new funding was coming primarily in the form of family investments and foreign investment. Also, new TV channels are coming in to finance the new film ventures'.