In Conversation with Rohit Mittal – the very talented writer/director of Autohead!

In Conversation with Rohit Mittal – the very talented writer/director of Autohead!

interviewed by Souranath Banerjee

Rohit Mittal – the young independent filmmaker who is not afraid to experiment with the ‘form’ and ‘content’ of Cinema!

His film Autohead is been considered as one of the most innovative films at this year’s Mumbai Film Festival and immensely appreciated by all.

In Conversation with Rohit Mittal as he talks about his journey as a filmmaker!

Welcome to Cinema Forensic Rohit!

Thank you.

Autohead, your debut feature film got such positive reaction from the crowd recently at Mumbai Film Festival. What do you have to say about it?

It’s great. Honestly I was a little scared to screen the film in India and MAMI being the first Indian screening. Because the thing is that it’s a different kind of format in terms of the treatment and all, it’s a Mocumentary and so I didn’t know how the audience will react to it. But thankfully it was great!

We have already been to five festivals before, MAMI was the sixth one and every time the reaction of the audience has been positiveConversation with Rohit Mittal. I will be going to New York in a couple of weeks for the South Asian International Film Festival too!

That’s great Rohit, congratulations again!

Thank you. We hope to do some more festivals may be till Feb or March next year and then probably go for a small theatrical release.

But then again when it comes to distribution in India, I don’t have to prove anything to anybody now, since the film has been received so well in the festivals and the reviews are so very positive. And I actually don’t see a point in running behind distributers to release it.

And thanks to technology, I can say this now that I am also looking at  digital release probably – anyway that will give me a wider audience. Channels like Amazon and Netflix, I have heard that they also pay well. So there is a higher possibility that I go for that and that’s fair enough because I would want to be in an environment where I am respected as an artist and you know like I don’t have to do the same things that most people have done in the past.

So me and my film’s co-producer, we are kind of relieved that we also have this digital option and again, I am not trying to prove anybody that I am the next Bollywood big thing, it doesn’t even exist for me!

As you said your film is a Mocumentary  it’s kind of a new genre in India right? So what made you choose this genre?

I have always enjoyed watching experimental genres – be it American or European films, particularly Mocumentaries because you are always breaking the fourth wall and then again you also have to justify the presence of camera. And then you can experiment with the narrative as well, the way you treat scenes – it’s real, sometimes it’s very real, sometimes it’s hyper real – you are mocking reality itself, often mocking the film-narrative itself. And of course it’s mocking documantary, that’s given for sure. A very intriguing format where the possibilities are endless!

Then in treatment also you can use jumpcuts, handheld camera and things like that. I really enjoy – you know when I watch some of these French New Wave films all they did were use handheld cameras and jumpcuts!

That’s so true! So after you wrote the script, how did you plan the production part?

We took four months of preproduction, I needed that time to spend with my actors – workshops and everything. And in that time we started looking for different locations as well. Sometimes I would go Conversation with Rohit Mittalwith my actors on these locations and rehearse. And lot of times I would randomly roam around the city checking out new places, and at the same time making changes in my script to adopt according to the locations and things like that.

And Autohead is more of a street movie, I think 70% of the film is on the streets. I wanted it that way. And because of certain constraints of money I wanted to be pretty sure about the way the shoot had to be executed. We had exactly 15 days of shooting plan and it had to be very precise.

How important is the working with the actors for you?

Very important. The more time you spend with them the more you can trust eachother.

What I feel about acting is – yes, it has to be real but is real enough? It has to be interesting also. So then we take off from realism and merge the actor’s self-awareness and imagination – then only it gets more interesting. That is why I like to give my actors freedom in terms of movement and behaviour. Plain realism doesn’t really work for me, and since it’s a Mocumentary it’s always about questioning the real!

And the post production part, how different was it to edit a Mocumentary?

(Laughs) It took three and a half months just to edit the film! Because you know honestly there is no narrative. My film is kind of anti-narrative!

So the film can be placed anywhere – the end of the film could be the beginning of the film. Then of course we had the script but then when you have so many options in the edit it’s more like always a Conversation with Rohit Mittalchallenge to make it better. And again as I said before, you have to always justify the camera and in editing and that becomes a problem. Because you cannot suddenly jump to an angle or a shot which will completely destroy the idea of a Mocumentary. We had to be careful about that. Then again there are lot of jump cuts but they are actually not random cuts, they were planned even before the edit.

So in this film we have a lot of times taken many bold narrative steps and that is a plus for editing a Mocumentary!

That’s great! So, you were the writer, director and also the producer of the film?

See, the idea for me was to get enough money to shoot and edit the film and then I had to show it around to people to get the money for the grading and DI and everything else. So after the editing I waited for almost two months to get the rest of the funding. Then I got the other producer on board, so I would say it took seven to eight Conversation with Rohit Mittalmonths after we finished the shoot – three months of editing, two months of waiting, and then again three months to finish it off.

Overlooking every aspect of production was a challenge for me. Every night I would come back from shoot, transfer all the footage, at the same time go through all the bills, pay everybody – but it was fun! When I look back it was this rush and there was lot of energy and I don’t even feel like I have worked hard because it was so much fun!

And honestly when I was making the film I never really thought that the film will go to a lot of festivals or anything like that. I didn’t have any festivals or market in my mind – it was just about the film and the passion of making it!

And as you said before the interview started you are currently writing your next script. Tell me something about your next project?

I have two scripts actually, one is already finished, the second one I am writing. And I am still talking to people, may be this time I will have four-five different companies producing the film. But I am also kind of being careful about that, because answering to a lot of people can drive you crazy!

Now tell me something about yourself Rohit, where are you from and how did your passion for film evolve?

I am from Bombay, born and brought here. When I was 18 me and my family shifted to Pune. I studied law there! But then it was never my thing (laughs). Even in the law-school all we ever did were watch movies and write screen plays and make short films. Me and some of my friends use to run this literary magazine – so you know it was all about that. But looking back I think it was one of the best times!

But then when I graduated, I had to get a job somewhere because there was pressure from all side. I took a job in Bombay in a law-firm but it was a horrifying experience. I hated that job!

Even then I was writing and making short films and videos during the weekend. And by the end of the first year I got so frustrated that I left. For the next two-three monthes I was just thinking like where to go and what to do. That was when I decided that I have to go to a film Conversation with Rohit Mittalschool just to have that kind of space for myself; not really for training purposes but also to explore things on my own. That is why I went to New York Film Academy. I was there in the NewYork campus for four months and then I moved to the LA campus. I was in LA for around two years. I studied there and also worked there after graduation. I worked with Roger Corman, the king of B movies, and I was working with him on a daily basis; was a part of both the development and the editing team. And it was one of the best learning experience of my life!

I got to see a lot of B movies, and other very rare films there. One thing I regret is I didn’t steal those dvds from there because I just can’t find those movies here (laughs).

But then when did you decide to come back to India?

The idea was never to get stuck to a job or stay in the US just for the sake of it. Making 2000 dollars a month – that was never my plan. For me it was always to make a film!

In LA the scene for independent film makers is not that good, it’s very expensive there. That is why I had to come back and by that time I had this idea about making a film about somebody who is a criminal but at the same time it’s not just about the story – I wanted Conversation with Rohit Mittalto do something with the ‘form’ of the film. How can I change it, do something new with it, make it interesting – that thing was constantly nagging me. Some famous filmmaker said in an interview to ‘rip apart the form’ – it was his advise to us – digital filmmakers. So I was constantly thinking about it. So that is when I finally came up with this Mocumentary.

And then a lot of Indian so-called indie movies pissed me off because they were mostly about social issues, emotional, very Satyajit Ray kind of films which I hated at that time. I don’t have problems with Ray but it has to go ahead from there right? It all got stuck. Why are they still trying to perfect the same story? So why not critise it and question it? This was also one big reason to make Autohead.

It is so rare for filmmakers to experiment with the ‘form’ nowadays – thanks for being so innovative Rohit!

Thank you. And the kind of response I got in MAMI – for some kids who were watching Ray and Ghatak in their film school, Autohead came as a shock to them. And I was like – Yes! mission accomplished! (Laughs).

Billy Lynn’s Long Halftime Walk (2016)

Billy Lynn’s Long Halftime Walk review

written by Souranath Banerjee

Rather than labelling it as an ‘anti-war film’ let’s say it is an emotional tale of war and the warriors! 

My Ratings: 3.9/5

Crouching Tiger, Hidden DragonBrokeback MountainLust, CautionLife of Pi – there is one man who is behind all these masterpieces, the acclaimed Chinese director Ang Lee!

Billy Lynn's Long Halftime Walk reviewAnd it’s a war film! Well, actually a more sophisticated version of a war movie where the aftermath of the battle takes up the centre stage.

Based on the novel by Ben Fountain and screenplay by Jean-Christophe Castelli, Billy Lynn’s Long Halftime Walk essentially revolves around 19-year-old Billy Lynn, a war hero, retuning home from Iraq on a victory tour with his entire squad (the survivors of the gruesome war). 

His memories and flashbacks of the battlefield, his personal heroic efforts and the lives lost in the combat – these are the crux of the film, put across through a superbly knitted nonlinear storyline.

Through John Toll‘s brilliant visuals and Tim Squyres innovative back and forth editing, no doubt Ang Lee has told his story in style!

Billy Lynn's Long Halftime Walk reviewBut then again the performances make the 1h 53min film such a delight to watch; especially debutant Joe Alwyn who played Billy Lynn was incredibly natural!

Then of course we have brilliant actors like Garrett HedlundSteve MartinChris TuckerKristen StewartVin DieselBeau Knapp among others who have perfectly balanced the film. 

The only thing that bothered me was that it was a bit too vocal, like every emotion was spoken out in elaborate sentences loud and clear for the audience!

Then again Billy Lynn’s Long Halftime Walk is definitely a Cinema worth your time, highly emotional and also a cinematic achievement since it is the first film to be shot at 120 frame rate!

Poster courtesy: www.impawards.com.

IN CONVERSATION WITH RIMA DAS AS HER FILM PREMIERES AT THE TALLINN BLACK NIGHTS FESTIVAL TODAY!

In Conversation with Rima Das as her film ‘Man with the Binoculars’ premieres at the Tallinn Black Nights Festival today!

interviewed by Souranath Banerjee

Rima Das – an actor turned writer/director, a rare combination of a spiritual soul and a beautiful smile!

Her debut film Man with the Binoculars : Antardrishti was recently been selected, screened and very much appreciated in this year’s Mumbai Film Festival! 

In Conversation with Rima Das as she talks about her journey as a filmmaker!

Hello Rima welcome to Cinema Forensic!

Thank you so much. My pleasure.

Your debut film ‘Man with the Binoculars’, originally titled as ‘Antardrishti’ recently got selected in MAMI and it was very much appreciated by the audience! What do you feel?

I am very happy!

Actually my film was earlier screened at Cannes this year and it recently got officially selected at Tallinn Black Nights Film Festival too!

And being a regional film (it is in Assamese) Conversation with Rima Daswhile I was writing the script, I was sure that may be only 30% people will like it. Because ‘silence’ is one of the main characters in the film and I didn’t know if it will connect to the audience. Though I didn’t have any particular audience in mind while making it but then again I was scared; specially in MAMI being the first public screening in India. But people really loved it, even the youngsters liked it. That really encouraged me!

And now I can think about the release of the film. I feel a little relaxed (laughs).

Wow! Silence being the protagonist of the film – that’s really interesting! Tell me how did you come up with the story of your film?

One day at a friend’s place, I saw a pair of binoculars. He told me he was planning to gift it to his retired father. That intrigued me. I wondered what the old man would do with the binoculars. What would he look into, what would be see? And that became the primary idea of my film, and then there are four different love stories also played in the film.

And yes, Silence – actually the films that I could really relate to are those which have more of silent moments you know. Then in Mumbai there is so much noise, I feel people need some time to Conversation with Rima Dasbreathe, and through my cinema I want people to understand the beauty of silence. Personally silence always relaxes me.

So from being an actor to a filmmaker – how did that happen?

While into acting I was always interested in direction. Then I got to know about the 5D DSLR camera, a small wonder with which I can do all my experiments.

Actually in 2009 I made my first short film, ‘Pratha’. It was selected in Chicago Short Film Festival and some other festivals as well. So that way I got some confidence. I understood that I just needed to tell my story, bought a 5D and in the next one year I did almost ten short films and music videos. I kept on experimenting.

But then for my first feature I needed time, and to avoid any external pressure I didn’t want to involve anyone else. So this film is self-produced. I realised that I needed a good cinematographer and lot of time – then only my vision can truly come out in my film. My film is more of a visual thing – it’s a visual poetry!

That’s brilliant! So how was the shoot like?

I wrote the script for almost one and half years while in Mumbai. Then I shifted to Assam and within eleven days I fixed all casting, costumes, location, props everything. Thanks to a bunch of energetic youngsters from my village and my younger cousin-sister Mallika Das who were helping me with all Conversation with Rima Dasthese. Only my cinematographer and the main actor were professionals. Other than that everyone was inexperienced, just helping me out.

My protagonist is working for more than 40 years, he is a National award winner actor! So again it was a challenge for me to direct somebody so experienced along with all the new faces. But I was very sure that I will do only two or three scenes a day, and there were lots of retakes also specially for the long takes.

You also acted in the film right?

Yes, but I don’t think it was a very good decision, probably the only thing I regret while making the film (Laughs). I feel I could have concentrated more on direction but at the time it was also difficult to get some other actress, so I had to do it.

But then also everything went perfect and you have made such a great film! Now tell me something about yourself, where are you from? 

See I belong from a very small town in Assam. I grew up watching a bit of television but then again my father being a teacher – it was always like studies come first. I wasn’t aware of much of cinema,
Conversation with Rima Dasspecially world cinema.

But from my childhood I was interested in acting, even in school and college I did plays and all. Then I decided to come to Mumbai and try out acting as a career. But being from North East my Hindi and English were not so good; I was always the best in my hometown but in Mumbai it was very difficult – I got insecure and went into depression.

But one thing that happened good in Mumbai was that I got exposure to world cinema and I got addicted to them. And then I wanted to create, I think that is when the transition from an actor to director happened for me.

And what are your inspirations, any particular films or film makers you particularly admire?

See I like to watch all kinds of films, from Tarantino to Bergman – everything. But then again Iranian films, films of Wong Kar-Wai. Oh and then Terrence Malick – I somehow connect with him more because may be I am a spiritual person and so …  I also like to Conversation with Rima Dasknow what is life and all these things you know.

Even Pather Panchali by Ray inspired me a lot!

Even while working on my second film ‘Village Rockstars‘, a story inspired by incidents from my own rural upbringing, I keep taking inspiration from the these great film makers.

It’s like a privilege to watch such directors you know –  ‘aisa lagta hai ke humne toh kuch nehi kiya, humme toh bas dekhne ko mila hai!’

All the best for your second film! It all sounds like an awesome journey Rima, congratulations once again!

Thank you so much. Ya, now sitting here and looking back it feels amazing, it’s like a miracle! (laughs).

Fantastic Beasts and Where to Find Them (2016)

Fantastic Beasts and Where to Find Them review

written by Souranath Banerjee

Not exactly related to the Harry Potter franchise, but definitely loaded with some magical VFX!

My Ratings: 3.7/5

The first of the promised 5 series wizard-drama opens up with a massive box office collection, 8.8 million just on the opening night!

All you Harry Potter fans, please wave your wands in the air and rejoice as you get to celebrate yet another magical journey penned down by none other than J.K. Rowling herself – her screenwriting fantastic-beasts-and-where-to-find-them-poster1debut!

A tale straight from 1926, the time when the Wizard world collided with the Muggle world because of a young man named Newt Scamander, who appeared in NewYork with a suitcase full of rare magical creatures, and then these so called ‘fantastic beasts’ managed to run loose in the city!

A genuine crisis for the Wizard world because the muggles (the non wizard people), whoever saw or got effected by these unique and often dangerous magical animals had to be obliviated (made to forget everything). And on top of that there was some untamed dark danger that kept lurking around, creating havoc in the city that had to be investigated too!

An adventure full of gripping moments, comedy and yes – loads of sparkling magic!

Directed by David Yates, who also directed the last four Harry-Potter-films. But this movie is definitely unique because though it fantastic-beasts-and-where-to-find-them-poster4has connections to the popular Harry Potter series and yet the film manages to stand alone as a distinctive individual story.

Oscar winner Eddie Redmayne becomes the central character Newt and as usual excels in his performance doing what he does best, playing the slightly eccentric genius. (Though it’s high time he should try something different, specially with his mannerisms and his overall body language).

Then there was Dan Fogler who made sure that the audience gets a good dose of comedy throughout the film, he is simply brilliant! Alison SudolKatherine WaterstonEzra Miller and Colin Farrell all did their part with enough conviction. 

A bit lengthy and certain scenes have been unnecessarily prolonged. And also too much dependent on VFX,fantastic-beasts-and-where-to-find-them-poster5 practically it seems visual effects is the true protagonist of the film. Though superlative quality of work by all the studios – Cinesite, Double Negative, Framestore, Image Engine, MPC, Milk VFX and Rodeo FX.

(Click the link for more VFX stories on this film)

Overall a decently entertaining film, but a must-watch if you are a member of the Potter fan-club!

P. S. – don’t you dare to blink or else you will miss the cameo by Johnny Depp!

Poster courtesy: www.impawards.com.

In Conversation with Akshay Singh – the inspiring writer/director of Pinky Beauty Parlour!

In Conversation with Akshay Singh – the inspiring writer/director of Pinky Beauty Parlour!

interviewed by Souranath Banerjee

A sensitive writer, an innovative director and also a fabulous actor – yes that’s Akshay Singh for you ladies and gentleman!

His film Pinky Beauty Parlour is already creating an audience for itself even before it’s been released.

In Conversation with Akshay Singh as he talks about his journey as a filmmaker!

Hi Akshay welcome to Cinema Forensic!

Thank you so much.

Your debut film Pinky Beauty Parlour created such a buzz in the Mumbai Film Festival recently and you have just revealed that it’s also been selected in the Goa International Film Festival! Congratulations – how does it feel?

Thank you! I am really happy, really glad, in fact I got overwhelmed with the response which my film have got!

Conversation with Akshay SinghUsually I had this idea that in festivals only those films get appreciated which are really intense you know. My film though it has a very serious issue but the treatment is very entertaining – it’s a multi genre film – there’s suspense in it, it’s a black comedy and
satirical as well. And then again it’s a social drama about the issue of the skin-colour bias which is very universal issue in a way.

Actually even before MAMI, the first screening we had was in Cannes Festival. There we had a market screening, people from around the globe were there and the response was again very encouraging.

So I was hoping MAMI will also be good but then again I was nervous. The first screening happening in India and being an Indian film, an Indian story – I was expecting a reaction that will give me an idea of how will it go when the film gets actually released in the theatres. And then you see people queuing up for your film and for the first screening some 30 odd people could not see the film because it was house full!

MAMI was indeed a great platform for me and this time they have organised it so well – yes, I am thankful to them.

The reaction of the audience was really good after the screening. Did you felt it too?

Ya. In MAMI the best thing that happened was after the screening I heard someone saying a dialogue of my film! It’s so encouraging when people say ‘apke film ke dialogues bohot sahi hai’ and being also Conversation with Akshay Singhthe writer of the film that feels really great – i mean this is something every filmmaker craves to hear right?

Even there is a song in the film that is very catchy – a kind of folk fusion. And for the lyrics of this song I had given a few specific words to my lyricist like ‘talcum powder’ and ‘phair phair gal’ which actually means ‘fair, fair cheeks’ – you know in UP the pronunciation is a little (laughs) … and many people told me that I should promote my film through this song!

Some people after the Q n A session told me that ‘you are a revolutionary filmmaker!’ I was like ‘why?’ – but I think it was because we started a campaign called “Let’s unlearn”. It’s like the skin-colour-bias is something we are taught, not something we are born with. So let us unlearn this thing – you see? One person asked me ‘Do you really think your film will make a difference?’ and I said ‘Ya it might. Now since you are asking this question it is making a difference. And then this is only the first screening!’

Even Aj Tak covered this campaign in a big way.

So how did it all started, i mean the whole journey of this film?

It all started exactly one year back. We started the shoot in October last year. Because my film is based in and around Dussehra, so I shot the whole sequence in real locations in Varanasi during the festival! Lots of guerrilla shoots (laughs).

When I started planning for this film, I chucked out one thing out of myself – the fear of failure!

While writing the script – actually I get many ideas specially when I am travelling and listening to music but I used to keep coming back to this one again and again. This was not even supposed to be my first film – I have written another script which I sent it to Script Lab, Conversation with Akshay SinghFilm Bazar, and it initially got selected also. But by then I was so much into this script of Pinky Beauty Parlour, i simply had to make it.

Around July we had a test shoot; I crunched my whole script into five pages and the whole thing was like a short film. So we hired a bungalow in Madh Island and our whole team was there. And me and my wife decided on some guide lines – like nobody will raise their voice during the shoot.

So from this one day test shoot we got the confidence to go ahead and shoot the whole film by ourselves!

Wow! And so you decided to produce your own film right?

Initially I had somebody who wanted to produce the film but at one point of time it was getting delayed because of the funds and all. And I needed to shoot the film in October because Dussehra is in October and my film revolve around that period. And again I knew I can never recreate anything like that. So we had the test shoot and Conversation with Akshay Singhall, we were confident but still we didn’t have the money (laughs).

And then one evening I came back home and told my wife ‘Let’s shoot the film. Let’s plan the first schedule’. And that same evening, you won’t believe me, within ten minutes I got a message from Citibank that you have a pre approved loan of this, this and this – and I was like ‘Wow the amount looks good!’ Seriously man, the universe really gives you if you really want something from your heart!

I totally believe in that Om shanti Om dialogue!

That was awesome! So you started production right away after that?

That was 29th of September when the funds came in and Dussehra was on 20th of October!  So we didn’t have even one month pre production time. But the script was so detailed – I must have written more than twenty drafts and then lost count of it. So after working almost two years on this script I was crystal clear about every detail. And being the writer and the director there was no conflict there and so the shoot happened very smoothly.

We had to get up at 4 in the morning but the team was so charged up! We shot in real locations, we even shot a real Ram Leela and people didn’t had a clue! There I completely improvised a scene – just told my DOP to follow me with the camera and I went ahead and said live in front of the stage ‘Yeh 101 rupeeya Pinki Beauty Parlour ke taraf se’ – that whole thing was so spontaneous and completely improvised (laughs).

Again during the Ganga Arti shoot, there is a scene where Sulagna Panigrahi had to go and sit on those steps by the Ganges. And we got it all planned and shot the whole sequence but by the end of the shoot people started to recognise her. Then we had to quickly wrap up and take her away. But it was such a sensitive emotional scene.

You know in number of scenes I haven’t used dialogues at all, specially in scenes when a character is expected to react I have made her go quite, no music nothing. Because I believe silence speaks a lot!  

Very interesting! Tell me something about yourself, when did you decide to be an actor, and then how did the transition from an actor to a writer and then a director happen?

I had my schooling from Dehradun, boarding school. I belong to a place called Ghazipur – a small town near Varanasi. So in my school I used to write skits in the annual functions and all, which were mostly spoofs of films. So from that time I knew I had to do something in the film industry. So gradually I realised I wanted to become an actor.

So the moment I passed out from school I decided I need to do theatre and for that I have to go to Delhi. So for my graduation, since I was a good student I got to a very good college in Delhi university. So my family was also happy. But I was more interested in theatres than studies. Conversation with Akshay SinghSoon joined a two year course of Performing Arts and did many plays.

Then after graduation it was time to come to Mumbai. And because of my theatre background I started getting work in television. And in television you are paid well, so that sometimes pushes you in that mode where you get relaxed. So that happened to me as well. In 2003 I got my first break in a show called Kashmir! I got praised for my role by Farooq Sheikh, I still have the message which he sent me!

I learnt so much from the director of the show – the technicalities and all but it was always like what if I had directed this shot myself? I would always sit near the monitor and i think somewhere it was there in my subconscious mind that I want to direct.

I did a few films as an actor, decently made films but not very well promoted – so people are not aware of them. Then I started writing and soon I was writing for some of the big names in the industry. But still somehow things were not really happening and it kind of made me angry.

Ultimately I decided I have to direct my own film now!

So you being the writer, director and also an actor in Pinky Beauty Parlour, it must have been an incredible journey for you!

(Chuckles) In the time of post production I didn’t have any assistants because I didn’t have the money to pay them. So I was alone doing everything. There were days when I slept in the studio only. But this whole thing was a blessing in disguise. I have conceived this idea, like from the first word that I have written till the post production – and today I know everything is my vision and I cannot blame anybody. So Conversation with Akshay Singhthis was the journey and I loved it!

And then also after completing the film we didn’t have enough money for marketing and distribution, so we are going for crowdfunding through Wishberry. So in a way we are asking for money also and at the same time our film is getting promoted!

It’s just that I don’t sleep much otherwise everything is good (laughs). It’s huge pressure because me and my wife’s savings are all gone while making this film but then again we made the film in our terms!

And I think it’s people like you who are giving us that platform where I can talk and reach out to my future audience!

My pleasure Akshay. That’s the least I can do specially for films like yours that are made with such integrity and good taste.

Thank you. That’s very encouraging you know, thank you so much!

The Salesman (2016) – Best of 18th JIO MAMI Mumbai Film Festival 2016!

The Salesman review

written by Souranath Banerjee

 A Cinema that tends to alter the definition of ‘Justice’! 

My Ratings: 4.3/5

Is Cinema only a medium for entertainment? As a filmmaker how much social responsibility one is ready to accept? How successful is a film in depicting a certain time, an era, a place and its people and their circumstances? How close is it to reality?

Surprisingly enough a few filmmakers still reflects on these aspects of Cinema and takes upon the burden to create something that represents a particular culture and also the people bound by it.

Asghar Farhadi is one such filmmaker, who in his films not only portrays his country Iran in the true light but also delves in such depths of human psychology that the characters in his films become The Salesman reviewalive and their problems unique yet genuine and tangible for the whole world!

After making a brilliant film like A Separation (for which he won an Oscar) it’s difficult to create something at per or even better, but Asghar Farhadi has accomplished that impossible! The acclaimed Iranian writer/director who has given such amazing movies like About EllyFireworks Wednesday and The Past is ready to woo us with his latest – The Salesman; original title – Forushande.

A simple plot to start with – soon after the couple Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti) gets shifted to a new neighbourhood Rana gets assaulted by a mysterious stranger. She doesn’t have enough courage to go to the police, and neither does her husband. But Emad being a man with his ego and pride wants justice and desperately looks for the stranger responsible for turning their lives upside down. And finally … ok, you better now watch the movie!

But by the end of the film I am sure you will question the real meaning of ‘Justice being served’.

Arthur Miller’s ‘Death of a Salesman’ is being intelligently used as a backdrop of The Salesman, a unique way to create a layer of The Salesman reviewadditional drama on the current plot.

Even there is reference of another famous play – ‘Cow’ by Gholam Hossein Saedi. “How does a man become a cow?” – “gradually”. This dialogues have a profound inner meaning on the characters in the film.

Even the status and obligations of women in Iran is being interpreted in such subtle yet profound manners throughout the film.

An exceptional team effort where every department of filmmaking comes together and creates something magical. Winner of ‘best actor’ and ‘best screenplay’ award at Cannes 2016 and according to me the ‘best actress’ award was also very much deserving.

In a way a satire that too on a very serious note on the current Iranian social structure, The Salesman is an Iranian Cinema that will soon be termed as a classic. Watch it!

Poster courtesy: www.imdb.com.

Neruda (2016) – Best of 18th JIO MAMI Mumbai Film Festival 2016!

Neruda Review

written by Souranath Banerjee

The tale of a fugitive poet and his flitting poetries; Cinema at it’s best!

My Ratings: 4.3/5

There is nothing as beautiful an experience as a blend of pure poetry in cinema; when the dialogues turn into lucid verses, and the visuals infuse with the rhythm of the poet’s manoeuvring voice.

Yes, that’s exactly what the film Neruda is all about!

Neruda ReviewEssentially based on two characters – “In this fiction, we all revolve around the protagonist. A hero and a supporting character.” 

‘The protagonist’ is none other than the famous Chilean poet Pablo Neruda who won the Nobel Prize for Literature in 1971. But this is a story that dates much before the poet’s international fame, in the late 1940s when Neruda is being hunted in his own country for being a Communist!

And the ‘supporting character’ is Óscar Peluchonneau (played by none other than Gael García Bernal), the determined police officer who has the specific orders to hunt down Neruda – to ‘catch him and Neruda Reviewhumiliate him’.

Thus in between the priceless poetries and the endless humours, between the artist’s vulnerability and the stalker’s frustration – we experience a classic cat and mouse game, ‘a wild hunt’ that ends the way you would have least expected!

Directed by one of my favourite filmmaker Pablo Larraín, this one has already been selected as the official submission of Chile for the ‘Best Foreign Language Film’ category for the 89th Academy Awards in 2017!

The performance of a life time by Luis Gnecco, as he plays the ever-popular, exotic, intellectual poet, Mercedes Morán as his aristocratic  wife and then of course the stunning Gael García Bernal, the man Neruda Reviewwho will chase down Neruda till the snowy surreal horizon.

Sergio Armstrong keeps the visuals artistic and beautifully wide-angled while Federico Jusid‘s music often adds a certain comic touch to the film.

Neruda, an unconventional biography, a poem in itself, a celebration of a genius and also a cinematic brilliance!

“Tonight, I can write the saddest lines.                                                                          I loved her, and sometimes she loved me too.” – Pablo Neruda.

Poster courtesy: www.impawards.com.

In conversation with Pulkit – the young and talented director of Maroon!

In Conversation with Pulkit – the young and talented director of Maroon!

interviewed by Souranath Banerjee

Nowadays it’s difficult to find the right combination of talent, determination and humility all in one person. And Pulkit, the young and gifted filmmaker have all these qualities and that too with a great sense of humour!

In Conversation with Pulkit as he talks about his journey as a filmmaker!

Hi Pulkit welcome to Cinema Forensic! 

Thank you.

How does it feel to watch your first feature film Maroon on the big screen at the prestigious Mumbai Film Festival?

It’s Great! It’s also a very weird kind of feeling I must tell you. You know when your film gets selected in the film festival they do a technical check, so they called me for that. On 24th morning I was sitting alone in the theatre and they played my film. Suddenly I started crying you know – what was happening! Something that I always dreamt about – I felt my career, my schooling, my college, pulkitcame to Bombay, just being 5 years in Bombay and now watching my own film in the big screen – it was a superb kick!

And then I was very nervous on how people will react, because you always love your baby, but the film is not for you na? So during the actual screening I couldn’t watch the film with the audience. I left the theatre. I came down, had coffee, cigarettes; and my assistant who was there in the theatre, she kept messaging me – like people are smiling, giggling, how they are reacting and all that.

Even after the screening, the question answers and all, I met the audience – ya it was superb. I know I will make another film but this thing won’t happen again – the first time experience – it was like pehli baar apko pyaar ho gaya‘. Very beautiful feeling!

Congratulations again Pulkit! Now let’s begin from the beginning. Tell me something about yourself, your background.

I was born in Bihar, Muzaffarpur. My parents still live there.

As a kid I was never good in studies (laughs). Actually my father being a businessman in Bihar I had so many restrictions – because at that time in Bihar children of businessmen used to get kidnapped a lot. So I wasn’t allowed to play with other kids, it was just going to school and back to home. I didn’t have any friends. I didn’t know what was happening around the world. Even in the newspapers it was always stories about crimes and murders. May be that’s why I am so keen in making dark films (laughs).

But the best thing happened to me in Bihar was music.  Since I wasn’t allowed to play I got interested into Indian classical music – I played pulkitTabla for thirteen years!

And so I asked my father to get me out of Bihar. And after 10th my dad got me admission into a boarding school in Haryana and I passed my 12th from there and that too with superb grades!

Then I took admission in Amity university Lucknow but I never wanted to be a graduate. So I didn’t attend any classes and just before my final exams I shifted to Mumbai!

It was May 2011. I got admission in Barry John Acting Studio but then again I realised i am too shy to be an actor. Then I tried assisting few people, some of the big shots in this industry. And within two years I became an associate and made good money but still there was no satisfaction. Night after night all you had to do was watch pulkitforeign films and copy references from them. I don’t believe in this module.

So, then me and Jyotsana (Jyotsana Nath is the current producer of Maroon), we both decided to quit our jobs and start something of our own.

And soon I wrote my first short film Bombay 1992, but that time we went over budget on the film. So I had to sell my car, ask money from my dad and finally the film got made. This short film taught me how important it is to control your budget.

And then how did the journey of Maroon got started? 

Actually before Maroon I wrote another script in 2014 and one of pulkitthe big studios was backing it at the time but due to their interference in the casting I had to take leave from the project.

Then it was very difficult, people here in Bombay they don’t entertain you, don’t trust you – why will they talk to me, why will they listen to my script? You go to a producer and they ask who is the actor? Then if you go to the actor he asks who is the producer? So independent directors are always in trouble.

So after writing the script of Maroon I narrated it to so many people, everyone loved it and they said ‘you should make it’ but no one actually stood by me. That’s the sad part.

But then Jyotsana was brave enough to come as producer and make this film happen because it was very important for me and Jyotsana to set an example – and we really did it without any compromise!

So after you wrote the screenplay of Maroon you were sure of Manav Kaul as the lead?

I approached Manav in 2014 with a different script of mine, a satire – controversial and dark. Manav said it will be difficult to get this film pulkitfunded and even released and asked me to write something else instead. He even assured me that he won’t charge a single penny from me!

And then I wrote Maroon. The idea was there with me for some time and I wrote the full screenplay in just thirteen days! I was assisting a friend of mine who was in the hospital and there only I wrote my first draft. And on the 14th day I went back to Manav, narrated the script and he said ‘let’s do it’!

How difficult was it to shoot the entire film within the specific time and budget constraints?

We started preproduction in June and we finally shot Maroon in October 2015.

We didn’t have any production team and we didn’t even know much about production. So a friend of ours, Vivek Kajaria who is a well known Marathi film producer – I asked him for guidance and he came on-board. So we took an estimation of how much money we have in our hands and how many exact days can we shoot without compromising the film.

The good part was all my actors, be it Manav Kaul or Sumeet Vyas didn’t take any money from us. They just loved the script and said pulkit‘we will make it’!

So we shot the entire film in 15 days without a break!

Everybody got so tired. And then again I wanted the film to be handheld and the Alexa camera is very heavy – so my DOP Soumik Mukherjee was drained and frustrated. For actors also, specially for Manav – what did go in favour of his performance was the actual lack of sleep which his character did require!

Three months of preproduction, fifteen days shoot, three months for sound and for music another four months!

Wow! So how did you plan out the sound design and music for Maroon?

The basic sound design of the film was there in my very first draft. Sound plays such a important role and I always wanted that sound should be the hero of my film. So yes Mandar Kulkarni did a great job.

And for the music Sagar Desai came on-board only after pulkitthe edit of the film. When I met Sagar I asked him to see the rough cut without sound, without music and asked for his suggestions. And he was so excited and came up with so many ideas – I really liked his excitement.

And lastly Pulkit, now that you have made your film and I am sure you will keep making many more and keep inspiring us, which are the directors who inspired you?   

Till 10th, 12th standard I didn’t have much exposure to films. While in Lucknow I started watching a bit of Hollywood films for the first time.

And then of course after coming to Bombay I started watching the so called classics. The first film that really inspired me was A Short Film About Killing by Krzysztof Kieslowski. Then I watched films of David Fincher, David Lynch and Hitchcock. I am always attracted towards dark kind of cinema because I really feel we all have a dark side that we tend to hide from everybody. And I know every one loves to watch dark films.

Thank you so much Pulkit for sharing your journey with us!

Most welcome (smiles). Will you have some tea?

Of course!