What kind of story did you want to tell when you start to write The Coffin Painter?

Film is like a mirror, it can reflect the reality of our life, and through this mirror we can see the phenomena that we have ignored. There is a consensus nowadays, the indifference of human feelings, which is there for all to see. People are realistic and everything is about the money. We don’t talk about the human kindness anymore. At first, I wanted to tell a story about neighbors. What kind of relationship between them? I wanted to have this contrast, and I came up with the story of a young girl and an old man. The young girl in the film is constantly being bullied, and bullying has been social issue in recent years. Our story is about a young girl who is being bullied and her mother who is under constant pressure from life (loan sharks), and the old man stands up to protect them both. The reality is a lead and that is how this story came out.

The film offers a poignant take on “compassion which is slowly vanishing from society”.

“We humans are losing our ability to empathise, to show kindness and care” Jayaraj.

“People like Narayanan perceive the nature and the world around them much better than us”: Director Jayaraj, on the visually challenged protagonist.

— Excerpts from an Interview with Cinematographer K K Mahajan: 

On filming Mani Kaul‘s “Uski Roti “ (1970)

 “I worked on two films with Mani Kaul. “Uski Roti” (1970) and “Ashad Ka Ek Din“(1971) Mani was very particular about his shots. He would explain exactly what he wanted. The compositions in “Uski Roti” were all inspired by Amrita Sher Gil‘s paintings. Mani told me that he wanted Sher Gil kind of compositions. I had just finished a film on her before I started
 “Uski Roti“. I had seen almost all her works, about 150 paintings.This particular film ( “Uski Roti” has a lot of resonance with Sher Gil’s compositions.

Written by Amitava Nag.  Read full article on Silhouette

In the works of Ray himself we will find that he made black-white after making films in colour as well, to him, it’s the subject which demands the medium and the treatment.

“I WAS NOT JUST DOCUMENTING OUR HOUSE, BUT ALSO A CULTURE WHICH IS SLOWLY ERODING.”

Achal Mishra’s potent debut “Gamak Ghar” won the Manish Acharya Award for New Voices in Indian Cinema at Jio MAMI Mumbai Film Festival with Star 2019, deservedly so. He has successfully emerged as an interesting voice in the independent Indian cinema with his first feature that harmonizes itself with the stories about us or the stories attached to us by reflecting the transformation of the events of the present to the bittersweet memories of the future. In our interview with Achal Mishra, we asked the young passionate mind to deconstruct his perspective on one of the best Indian films of the year so far and understand his approach to the craft, as well as his inspirations. Continue reading Interview with Achal Mishra (Gamak Ghar) →

Being gay is not less than a taboo that many people may assume even today and Tathagata Ghosh directed ‘Miss Man’, a short film addressing the same issue, perfectly sums up what it feels like to be a gay.  After being shunned by his homophobic father for his sexuality and his lover for not being a woman, Manob finds himself travelling to the city for a sex change operation. However, as he struggles with his identity, he faces challenges and questions he may not be ready to confront yet. Continue reading Tathagata’s short ‘Miss Man’ creating waves →

Oscar-winning filmmaker Martin Scorsese writes about the intimate image of India that Satyajit Ray’s films presented to the world.

In the relatively short history of cinema, Satyajit Ray is one of the names that we all need to know, whose films we all need to see.  And to revisit, as I do pretty frequently. Continue reading Martin Scorsese: ‘Satyajit Ray’s artistry, filmmaking took my breath away’ →