Adoor Gopalakrishnan
Sukhantyam reflects upon isolation and loneliness experienced by people of all groups, and the emotional fragility that prompts them to contemplate suicide.
After years spent living off the modest wealth of his in-laws, a man hatches a desperate plan that draws his respectable middle-class family into a vortex of crime, in this first feature in eight years from south Indian master Adoor Gopalakrishnan.
Indian documentary about Indian film history and P. K. Nair, the founder of the National Film Archive of India and guardian of Indian cinema. He built the archive can by can in a country where the archiving of cinema was considered unimportant.
The four chapters of the film tell stories, which are independent of each other. The only connection between them is the recurring theme of crime. With the flow of the movie, there is an increase in the complexity of the crimes.
What is the state of cinema and what being a filmmaker means? What are the measures taken to protect authors' copyright? What is their legal status in different countries? (Sequel to “Filmmakers vs. Tycoons.”)
How the cinema industry does not respect the author's work as it was conceived, how manipulates the motion pictures in order to make them easier to watch by an undemanding audience or even how mutilates them to adapt the original formats and runtimes to the restrictive frame of the television screen and the abusive requirements of advertising. (Followed by “Filmmakers in Action.”)
The title of the film Nizhalkuthu (Shadow Kill) refers to a popular play Nizhalkuthu Attakatha, adapted from the Mahabharata, about the inherent unjustness of certain punishments. In the play, the Kauravas force a witch hunter to kill the Pandavas by stabbing their shadows. However, the witch hunter's wife finds this out and is enraged. To punish her husband by making him feel what, Kunti, the mother of Pandavas must feel, she kills their child in the same way. The film reflects that death penalty is probably in the same vein. We may---like the witch hunter's wife---be handing out punishments that are equally ridiculous under the false perception that we are doing justice, if not being directly criminal like the witch hunter. Adoor's usual cinematographer Mankada Ravi Varma filmed half of the project. But he was later replaced by Sunny Joseph, since the former fell ill and was later found to be suffering from Alzheimer's disease.
Film on art and life of well-known Kathakali Artist - Kalamandalam Gopi.
This intimately-constructed drama traces the consequences of the tumultuous political and social changes that swept through India in the years since pre-Independence 1937.
Thommy, a Christian migrant labourer from Kerala is an obedient slave of his aggressive, tyrannical landlord Bhaskara Pattelar. Thommy obeys all the orders of his master, whether it is to make his own wife sexually available to his master or in killing Pattelar's kindly wife, Saroja. When Pattelar escapes to a jungle, due to his own deeds, Thommy escorts him like a pet. But when Pattelar is killed Thommy exults in freedom.
The film focuses on the prison life of Vaikom Muhammad Basheer and the love between him and Narayani, a female inmate of the prison, who remains unseen throughout the film.
The film starts in the early 1950s showing Sreedharan, the protagonist, as a very popular communist leader and trade union activist. He is forced to go underground after his name was associated with the murder of the owner of a tile factory. He is considered to be dead by his party and they even erect a memorial for him. But he makes an unexpected comeback almost 10 years later, after the first communist ministry gained and lost power in Kerala and after the Communist Party of India has split. On his return, he spends his time sleeping and drinking. His come back is first a puzzle and then an embarrassment to his comrades and family. As the disappointment on his new face grows, he is found murdered. The film ends when both the communist parties jointly celebrate his martyrdom.
Set in rural Kerala, the story of Rat-Trap concerns Unni, the last male heir of a decaying feudal family. His inability to accept the socio-economic changes of a new society result in his gradual withdrawal into isolation and paranoia.
Krishnattam or Krishnanattam (Play of Krishna) is a temple ritualistic art performed at Guruvayur Temple (Guruvayur 680101, Trishshur District, Kerala) by a troupe owned by Guruvayur Devasvam. The performance of Krishnattam is based on Krishnagiti, a poetic text in Sanskrit containing verses and stanzas, written by the Zamorin King Manavedan in 1654. The story of Krishna, described in Bhagavata, Mahabharata and Harivamsha is presented in Krishnattam as songs, dance and acting in a sequence of eight plays (Avataram, Kaliyamardanam, Rasakrida, Kamsavadham, Svayamvaram, Banayuddham, Vividavadham and Svayamvaram) in eight days.
Sankarankutty, a village simpleton, lives a carefree life, indulges in childish pursuits, lives off the money given to him by his sister (working elsewhere as a servant), and eats quite voraciously. Then one day he gets married, but the wife is frustrated by his aimless lifestyle & irresponsible attitude (even after she gets pregnant). So she goes back to her parents. Meanwhile, his sister who is now living with her lover, can no longer provide for him, and a kind widow who used to care for him passes away. He has nowhere & nobody to fall back on, and from this point on, as he starts a job as assistant to a lorry driver, he starts looking at life in a whole new way and begins to mature as well.
Vishwam and Sita, who resist the opposition from their families, elope and marry. The unemployed couple begin a happier married life, but soon land in a sea of perils without a source of income.
The film highlighting the Dravidian temple architecture and bronze sculpture which attained the creative pinnacle during the rule of the Cholas in the 10th and the 11th centuries. Cholas were great temple builders. The temple of Vijayalaya Cholesvara is one of the finest examples of the early Chola style. The temple of Nagesvara at Kumbakonam is remarkable for the sculptures found in the niches of its outer walls. The Brihadesvara temple at Thanjavur is a landmark in the evolution of building art in India.Among several such unique temples, Tribhuvanam is the last important temple belonging to the Cholas. Besides temple architecture,the bronze sculpture of the Cholas holds a unique place in the field of art. One of the most important and famous of all Hindu icons,that of the cosmic dance of the Nataraja is intimately associated with the Chola bronzes.
