sanal kumar sasidharan interview

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You can support quality journalism by turning off ad blocker or purchase a subscription for unlimited access to The Hindu. How much of the film did you plan before you started shooting? I had no idea how to make a film and how to find a producer. My crew also knows nowadays that the plan, whatever we’re going to do, will change at the location. Sanal Kumar Sasidharan, who last directed Nimisha Sajayan and Joju George starrer Chola, in a recent media interview, talked about his upcoming movie A'hr Kayattam.The film that stars Manju Warrier in the lead will traverse through the journey of two characters namely Maya and Akash, who meet each other through social media and decide to go on a trek to the Himalayas. Do you think there is a growing appetite for indie cinema among Indian audiences? At this difficult time, it becomes even more important that we have access to information that has a bearing on our health and well-being, our lives, and livelihoods. I read books about John Abraham, about his parallel way of filmmaking and his philosophy of the “people’s cinema.” But I wasn’t following all this practically. How did you come up with the idea of shooting this as a road film? In a road movie, you expect something visually rich, like open landscapes. He disclosed that the makers are mulling an OTT release, especially because many big-budgeted movies are awaiting for theatres to open to book a date for their film. I’m aware of it. - Nisha's husband emotional interview! First of all, what is patriarchy? As a subscriber, you are not only a beneficiary of our work but also its enabler. With his third feature, Sexy Durga, Sasidharan reflects Indian independent cinema’s emerging feminist moment, urgent more than ever at a time when films like Alankrita Shrivastava’s Lipstick Under My Burkha are being denied release in the country for being too “lady-oriented.” Sasidharan’s stringent psycho-thriller joins recent releases like Pan Nalin’s Angry Indian Goddesses (2015) and Leena Yadav’s Parched (2015) in investigating the contradictions of Indian patriarchy that make women the subjects of both worship and vilification. You’ve spoken about how central gender is to this film. We have changed certain things in terms of pacing. tells SC talks on for another chance to aspirants, Hathras victim was gang-raped, murdered: CBI, Himanshi Khurana, Thaman S, Armaan Malik top Twitter music charts for 2020, Dhanush joins cast of Russo brothers’ ‘The Gray Man’, In historic pick, Biden taps Deb Haaland as interior secretary, Lewandowski beats Messi and Ronaldo to FIFA Best Player Award, Shackles and ties: On transition period of U.K.'s exit from EU. Personal life. I don’t have a problem with their thought process when I write. The police are trying to dominate the drivers, the drivers are trying to dominate the hitchhikers. If we understand that someone is more powerful, we don’t fight them—we surrender. sexy durga film review. Gender is also a power factor. It’s very difficult to make films with these kinds of subjects, because people are totally opposed to these, and the government also promotes popular cinema. The sinister undertones of the men’s enthusiastic offers to help reveal themselves slowly through the details—the decapitated head of a goddess Durga statue that dangles in the front of their van, the abrasive thrash-metal music they insist on blasting, their leering glances at Durga, and their relentlessly intrusive curiosity about the couple’s relationship. I don’t think artistes are saints, but they have the ability to find something in sadness/happiness. I have an idea in my mind and what I want to communicate is clear to me. He has become the face of independent cinema in Malayalam with five movies of varying degrees — both thematically and structurally. Two lovers from different communities and religions eloping together is a classic setup for a drama. I see what is happening, and according to that, I am ready to deviate, to give it its own way to work out. It’s like using a seashell from the seashore. His 40-year-old kin died recently. Since you make films about very polemical social issues, are you concerned about state censorship or adverse reactions to your films? And if somebody opposes a film, then the government says it will cause problems, so you better don’t make it. Everybody contributes, but they don’t know what they’re contributing. I needed this claustrophobic, closed [sense]. Like Sasidharan’s acclaimed previous feature, Ozhivudivasathe Kali (2015), Sexy Durga blends giddy, atmospheric stylization—long and dynamic shots, psychedelic lighting, hair-raising music—with razor-sharp political critique, weaving a subtextual confluence of themes of gender, language, religion, and authority into the film’s bare-bones narrative. If they are good, it’s me and if they’re bad, it’s still me.” His latest movie Chola — presented by Karthik Subbaraj in Tamil — is an exposition of a system called patriarchy. I also feel that there’s a lot hiding inside me. But now, survival is happening anyway, so that shouldn’t be an issue. But as a road movie, set in the dead of the night, it becomes the perfect premise for a thriller. filmmaker Sanal Kumar Sasidharan has come out with a few chilling revelations about the mysterious death of his niece apparently due to Covid-19. We changed the narrative style. I concentrate on the making—the narrative structure, the way of telling the story—and not the story itself. I wanted to show that the modern and the traditional—the primitive—coexist in society. I put them in a location and give them a situation. Were those also improvised while shooting? In Sanal Kumar Sasidharan ’s An Off-Day Game (2015), a drunken day unmasks a society intoxicated with its own sense of power. Sanal Kumar: The world which we live in is considered to be a Man’s world.Everything is designed by him and a woman accordingly follows the system diligently. You’re well-known for making films without scripts. By Anthony Kao. My friend saw the first cut and said that Chola has potential to work in Tamil, since the story takes place in the Kerala-Tamil Nadu border. Karthik’s name crossed my mind and I messaged him. Most of them were foreigners and they were in a state of shock. The movies I have directed so far have a common thread. The cinematography of the film is very striking, especially the long and fluid shots. You can always see the closeness of these human beings, their faces, and their fear. It’s not just that. on It’s not a theory, but a system. And people have an already set taste and mindset. It’s not just about gender. It’s a support for truth and fairness in journalism. This is why I like Kieslowski. 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