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Featured Articles

Book Review

Aditya Monday August 15, 2011
Contemporary Filipino film directors have a new mirror, consisting of forty-four retratos (portraits) in a book by famous Spanish photographer Oscar Fernandez Orengo which were exhibited at the Cultural Center of the Philippines (CCP) two years ago. The choice of the 44 direks is not innocent: most of them belong of course to the young generation of the indie filmmakers who emerged around 2000, like Brillante Mendoza, Aureaus Solito, Jim Libiran, Khavn de la Cruz, Raya Martin, Adolfo B. Alix, and Lav Diaz.  But one can also find prestigious veterans, like Eddie Romero (the last survivor of the Golden Era), Elwood Perez, Celso Ad Castillo, Peque Gallaga, Gil Portes, Mel Chionglo, Joel Lamangan, Cesar Hernando, Clodualdo del Mundo, Roxlee, and of course Mario O'Hara, as well as younger ones like Raymond Red.
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THE WOMAN IN THE SEPTIC TANK, Or a semantic look at Filipino Indie cinema and slums on the screen...

Aditya Thursday July 28, 2011
The rave film of the 7th Cinemalaya Film Festival (July 2011,  Philippines) was certainly  The Woman in the Septic Tank (Ang Babae sa septic tank), a first feature directed by Marlon Rivera, and scripted by famed screenwriter and director  Chris Martinez, whose own version of Joey Gosiengfiao's 1981 cult movie Temptation Island, was  a hit recently in theaters here.
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Homage to Chidananda Das Gupta

Aditya Tuesday July 19, 2011

Homage To Chidananda Das G  

Chidananda Das Gupta, film critic, author, director and one of the pioneers of the cinema movement in India passed away in Kolkata on 22 May 2011 at the age of 89. 
 
In memory of this scholar, filmmaker and renowned critic, NETPAC organized a tribute at the India International Centre in New Delhi on 23 June. Aruna Vasudev, President NETPAC, Dr Asish Nandy (leading political psychologist, social theorist and contemporary cultural and political critic), Prof Saugata Roy (Minister of State for Urban Development), renowned artist Mr Jatin Das, all of who were closely known to Chituda (as he was affectionately called), and Aparna Sen, well-known filmmaker and Chituda’s daughter, spoke on the occasion. There were readings from the author’s books and a vote of thanks was presented by his daughter, Ratna Lahiri. This was followed by the screening of Das Gupta’s film Amodini with an introduction by Monojit Lahiri. Amodini (1994) was the first film to bring national awards to a husband and wife team: Chidananda Das Gupta won the award fro the Best Bengali Film while his wife Supriya Das Gupta won the award for Best Costume.

In 2005, Chidananda Das Gupta was conferred the first Lifetime Achievement Award for Writing on Cinema at the Osian’s Cinefan Festival of Asian Cinema in New Delhi.

Are you the next Tarantino or Spielberg?

Aditya Tuesday March 15, 2011
As founder/director of 9FilmFestival, it has been great to join with the Bangkok Post as an organizer and communications outlet.  When planning the 9FilmFest, we want to give all aspiring filmmakers the chance for recognition.  What good does it do to make a short, and have only your family watch it?  9FilmFest co ltd and Bangkok Post Publishing are joining together to bring a truly unique and rewarding event to Bangkok.
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NETPAC@20

Aditya Monday June 14, 2010
In the twenty years since it was founded, NETPAC has become established as the leading platform for the discovery and promotion of Asian cinema.The genesis of NETPAC in 1990 had coincided with the renaissance of Asian cinema. NETPAC gave early expression to the need to acknowledge and recognise the emergence of new cinematic talent among Asians. It took under its wing a quarterly publication, Cinemaya,which provided a forum for mostly Asian critics, writers and scholars to document and evaluate Asian films and subsequently add them to the Asian cinema canon.
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Remembering Alexis Tioseco

Aditya Saturday September 12, 2009
 I first met Alexis in 2004. I was in charge of a young critics workshop at the Berlin International Film Festival, to which Alexis had applied. I remember that he was the first person to be selected; Ollie Baumgarten, Peter Cowie and myself were immediately struck by his enthusiastic promotion of independent Filipino filmmakers and the sense of conviction that his writing was important. This made me think he was cocky and self-assured, not always attractive qualities in a critic. But the Alexis I met a month later was - as he is often described - quiet and unassuming. Through our brief but rigorous interaction at the Berlinale, I grew a deep regard for the kind of critic he was growing to be, and I was extremely envious that Alexis was driven forward by a passion for the cinema of his homeland. He spoke and wrote in a voice that was always considered and provocative. One could not accuse Alexis of hyperbole, even for the filmmakers he vigorously promoted, or of unjustly dismissing films and directors that he did not care for. He relished debate, and I remember two long arguments we had in a pub in Hackescher Markt. - the first over Mario O'Hara's film Woman of Breakwater and the second over who should cover the tab.
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25 Years Are So Slow Like A Bad TV Show

Aditya Saturday April 25, 2009
But did 25 years of the Thai National Film Archive actually fly? To me, I feel like time simply crawled, inching forward as if in slow-motion. Twenty five years have felt like 100 years to me. Or even longer. That’s probably because the film archive has become inseparable from my life. I’m with it everyday, from the time I wake up until I go to bed, breathing with it and living with it. Was it really 25 years? That’s only 550 weeks, or 9,000 days, or 200,000-plus hours! That’s nothing! If I were an old-time movie dubbing pro and I saw a shot of myself on screen - skinny, with a wild black beard and hair, rewinding a roll of film at a work desk, then the shot dissolves to show the current version of me - an old, rotund man not unlike a tanned Santa Claus, with white beard and hair – seeing that, I would have narrated the scene: “25 years are so slow like a bad TV show.”
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Three Women, A Thief and Prasanna Vithanage

Aditya Saturday March 21, 2009
Prasanna Vithanage's new film, set in the social milieu of the leisure industry in Sri Lanka today, has no male characters of any significance. The main protagonists in the story are three women, two of them actresses in films and tele-dramas, and the other a night club hostess - also an actress of sorts.At the very beginning of the film we find the main character in her home, reading her letters, feeding her cat, making patties, saying goodbye to her guests and dealing with her younger sister who visits unexpectedly. This sets the pace and mood of the film. It is very much a sequence created by Vithanage to show a woman performing, or acting out her daily life. Acting and women are two subjects very much at the heart of who Prasanna Vithanage is, both as a person and as a writer-director of films and plays, and he brings them together in this film with courage and creativity.
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Uzbek Cinema: Breathing Freely

Aditya Sunday December 28, 2008
Uzbeks love cinema, particularly the Indian cinema. No, it is not just The Tramp (Awara) that is part of Indo-Soviet folklore. Any Soviet - in fact that was one of the tests of 'Sovietness!' - could burst into the Raj Kapoor/Mukesh song 'Awaara hoon' (‘I am a Vagabond’). But what amazed me in Uzbekistan was the repeated reference to Confluence (Sangam) and 'Dost dost na raha,' (My Friend is a Friend No More’), surely a new chapter in the Raj Kapoor saga, and a crucial sub-section of all serious discussions on Indo-Soviet relations. Be it any remote corner of Uzbekistan, even snowy mountainous areas, one can have an intelligent conversation on Indian cinema!
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Kamara Kamalova | The Grande Dame of Central Asian Cinema

Aditya Sunday December 28, 2008
How does one describe Kamara Kamalova? The 'Grande Dame' of Central Asian cinema? And yet, she is as fresh and energetic as a young girl. She smiles with her eyes, a warm smile full of life and hope. Perhaps that is the secret behind her special bond with the youth. The pains and joys of being young come alive in her films - from All Around was Covered by Snow (1995), about the emotions and insecurities of a young girl to The Savage (1988), which speaks of the injustices of the Soviet system through the story of young lovers. Her most recent film, The Road Under the Skies (2006) also has that special element which addresses young people directly, hence its immense success with young audiences from India to Uzbekistan. An exceptional feat for a filmmaker who is in her late 60s.
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Obituary

Jocelyne Saab (30th Apr, 1948 - 7th Jan. 2019) Jocelyne Jocelyne Saab, widely considered one of the most important contemporary Arab filmmakers, passed away after a brave and difficult battle with cancer on 7 January. Although death had long been hovering, many of us in contact only through texting or phoning, were taken by surprise, as the usual season's greetings had been exchanged with no hint that this beloved member of our film community would leave us within a week. Read More...