The Mumbai Film Festival has the parts that its organisers need to make the show a big deal on the international film circuit: appearances by world-class directors such as Costa-Gavras and Oliver Stone, screenings of films like “The Social Network” and “The Fifth Estate,” and the backdrop of a city that is home to the world’s largest movie production business. And yet, it isn’t enough. Festival director Srinivasan Narayanan spoke to Reuters about his roadmap for the festival and the hurdles in his path.
What is your ambition for the Mumbai Film Festival?
I want the festival to take shape in such a way that it emerges as one of the best festivals – getting the best films and the important celebrities to participate…
When Raj Kumar signed on for his first Bollywood acting role, the director asked him to lose weight. Kumar was fresh out of film school and determined to make it big, so he started running. And he’s been running for an hour each day since, come rain or shine, even on the notoriously congested roads of Mumbai.
Since his 2010 debut in Dibakar Banerjee’s Love, Sex aur Dhokha, Kumar has worked with some of India’s best known filmmakers but it was his turn as the quiet and industrious sports goods entrepreneur in Kai Po Che this year that got him noticed.
(We have updated this post with a statement from Allen’s publicist)
Woody Allen’s latest movie “Blue Jasmine” will not debut in India this weekend after the filmmaker objected to anti-tobacco ads that the Indian government requires cinemas to play before and during movies that feature scenes with characters smoking.
Allen refused to make “customisations” in the film to accommodate the ads, which led to distributor PVR Pictures cancelling the release, said two sources familiar with the matter. Both sources declined to comment because they were not authorized to talk about it with journalists.
(Any opinions expressed here are those of the author and not of Thomson Reuters)
Ranbir Kapoor is often hailed as the next big thing in Bollywood — a young star who knows what he is doing, chooses his scripts with care and delivers top-notch performances nearly all the time. If that is the case, Kapoor must have had a very bad day at work to say yes to “Besharam” (Shameless).
Abhinav Kashyap’s second film as director is crude, packed with toilet humour, and has no semblance of a plot. “Besharam” is a case study in lazy filmmaking, one that lowers the bar on good taste just to make money at the Bollywood box office. It insults the viewer’s intelligence and is an example of the Hindi film industry’s reluctance to let go of hackneyed storylines that were all the rage two decades ago.
(This post has been updated)
Ritesh Batra, director of the “The Lunchbox,” apologized to the Film Federation of India after accusing the group of corruption because it did not pick his movie as India’s contender for Best Foreign Language Film at the 2013 Academy Awards.
Batra said his intention was to participate in the “vigorous debate” that arose over the selection process for the country’s Oscars entry. His letter to the group came after the federation, which chooses India’s entry for the Academy Awards each year, demanded an “unconditional apology”.
Star India wants to attract English-speaking audiences with a television channel that syndicates the latest seasons of American TV shows such as the counterterrorism thriller Homeland and the comedy Modern Family.
Several channels broadcast U.S. shows in India, but Star World Premiere HD is the first to broadcast episodes a day or two after they air in the United States.
“The Good Road”, a Gujarati-language film, has been chosen as India’s entry to the 2014 Oscars, stealing attention from a critically acclaimed love story that was screened at the Cannes film festival this year.
Gyan Correa’s debut film about two children lost in the Kutch desert won a national award for best Gujarati-language film this year, but was a dark horse among the 22 movies in the running to be India’s official entry to the Oscars in the best foreign film category.
When filmmaker Pawan Kumar wrote an anguished blog post about not having enough money to make a movie, he didn’t expect hundreds of strangers to lend him their savings, no questions asked.
(Any opinions expressed here are those of the author and not of Thomson Reuters) Even if Ritesh Batra’s “The Lunchbox” had been a film with a weak script, wayward direction and too long to hold your attention, there would be still be a reason to watch the film — Irrfan Khan.