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Archive for March, 2010|Monthly archive page

Still a few tickets remain!

In Uncategorized on March 29, 2010 at 4:15 PM

Irrfan Khan cast as ‘Banker To The Poor’

In Uncategorized on March 29, 2010 at 1:00 PM

…Also joins cast of HBO’s ‘In Treatment’

Courtesy of The Hollywood Reporter

By Nyay Bhushan

NEW DELHI — Indian actor Irrfan Khan, whose international credits include “Slumdog Millionaire”, “A Mighty Heart” and “The Namesake,” will star in “Banker To the Poor,” an Indo-Italian coproduction based on the best-selling 2001 autobiography of micro-credit banking crusader Muhammad Yunnus.

Yunnus founded the Grameen Bank in the mid-70s which gave loans to entreprenuers in his native Bangladesh who were too poor to qualify for bank loans. In 2006, Yunnus and the Grameen Bank were awarded the 2006 Nobel Peace Prize.

Khan is repped by Jai Khanna at Brillstein Entertainment Partners. Khanna told THR that “Banker” is budgeted at $8 million and will be helmed by Italian director Marco Amenta (“The Sicilian Girl”). The film will begin shooting in the fall in India and is “being financed out of India and Italy by private investors” added Khanna who will serve as executive producer with Amenta and his banner producing.

The film is planned for release next year.

Meanwhile, Khan will join HBO series “In Treatment” as a regular this upcoming season for about ten episodes starring opposite Gabriel Byrne. Production begins in June in New York and Khanna said that Khan’s “role is being kept under wraps.”

A well-known face in Indian cinema with over 50 movies to his credit, Khan was nominated for an Independent Spirit Award for his role in Mira Nair’s “The Namesake.”

MoMA: ContemporAsian

In Uncategorized on March 25, 2010 at 11:55 AM

Special Thanks to The MoMA

Asian cinema is fast becoming a cinema without borders. Digital filmmaking and international coproductions are rapidly transforming an industry in which the transnational flow of talent and resources, even between the U.S. and Asia, has become the norm. In the monthly exhibition ContemporAsian, MoMA showcases films that get little exposure outside of their home countries or on the international festival circuit, but which engage the various styles, histories, and changes in Asian cinema. Presented in special weeklong engagements, the films in the series include recent independent gems by both new and established filmmakers whose work represent the rapidly transforming visual culture of the region. Not only are audiences given the rare chance to enjoy these undistributed films on the big screen—they also experience the diversity and richness of Asian cinema in all its many forms.

This year features 3 South Asian films, “Herbert,” by Suman Mukherjee, “Dinner with the President: A Nation’s Journey,” by Sabiha Sumar and Sachithanandam Sathananthan, and “Ramchand Pakistani,” by Mehreen Jabbar.

Here are show times:
Herbert
2006. India. Suman Mukhopadhyay. 142 min.

Thursday, December 11, 2008, 8:00 p.m. (Introduced by Mukhopadhyay)
Friday, December 12, 2008, 6:30 p.m. (Introduced by Mukhopadhyay)
Saturday, December 13, 2008, 1:00 p.m. , Theater 2, T2
Sunday, December 14, 2008, 5:00 p.m.
Monday, December 15, 2008, 4:30 p.m.
Wednesday, December 17, 2008, 8:45 p.m.

Dinner with the President: A Nation’s Journey
2007. Pakistan. Sabiha Sumar, Sachithanandam Sathananthan. 82 min.

Thursday, November 13, 2008, 8:30 p.m. , Theater 2, T2
Friday, November 14, 2008, 8:30 p.m. , Theater 2, T2
Saturday, November 15, 2008, 7:00 p.m. , Theater 2, T2
Sunday, November 16, 2008, 5:00 p.m. , Theater 2, T2
Monday, November 17, 2008, 5:00 p.m. , Theater 1, T1
Wednesday, November 19, 2008, 6:00 p.m. , Theater 2, T2

Ramchand Pakistani
2008. Pakistan. Directed by Mehreen Jabbar
Wednesday, April 21, 2010, 7:00 p.m. , Theater 2, T2
Thursday, April 22, 2010, 4:00 p.m. , Theater 2, T2
Friday, April 23, 2010, 7:00 p.m. , Theater 2, T2
Saturday, April 24, 2010, 5:30 p.m. , Theater 2, T2
Sunday, April 25, 2010, 6:30 p.m. , Theater 2, T2
Monday, April 26, 2010, 1:30 p.m. , Theater 3, mezzanine, Education and Research Building

Bollywood variety show heads to N.A.

In Uncategorized on March 24, 2010 at 9:55 PM

…First-of-its-kind ‘Destination’ to feature music vids, reality TV

Courtesy of The Hollywood Reporter

By Georg Szalai

NEW YORK — “Destination: Bollywood” will become the first Bollywood variety show to be fully produced and exclusively aired in North America.

The 10-week hour-long show, produced by Bollywood entertainment and distribution firm Saavn in cooperation with Emirates Airline, will feature music videos, as well as two reality TV segments where viewers on the Web and TV pick their favorite local dancers and singers.

It will be available Saturday mornings on Star India Plus at 9 a.m. EST and SET Asia at 9 a.m. PST, followed by Hulu at 1 p.m. PST. It will also be available in Canada on Rogers video-on-demand.

Emirates said it decided to become the sponsor of the show as it is looking for new ways of marketing and connecting with people beyond the traditional 30-second spot.

Lucky Ducks Swimming on Amazon

In Uncategorized on March 23, 2010 at 10:54 AM

Courtesy of Tracey Jackson Online

Three years. Thousands of miles of travel. A hundred and eighty hours of footage. Weeks spent in the editing suite with Cob Carlson. One festival. One nomination for BEST DOC.

Frantic swimming against the tide of the newly diminished indie market, but finally we are out on DVD and for all the people who have written in and asked how to get it or see it and for all those who have not – now is your chance.

What is I think (and OK, I’m prejudiced) is special and ultimately very valuable about this DVD is along with the Lucky Ducks film we have included fifty minutes of interviews with experts. I made the executive decision that we’d use those for our bonus materials instead of funny shots of us in India or the goofy outake scenes that usually end up on DVDs, and believe me I like them and we had some great ones. But I thought this would be a much more important learning tool if we let the experts speak.

The original intent of the film did get kind of side-tracked as most docs do, but the way I could nudge it back to the original concept was in the bonus material section. So what you will get is a twenty-minute interview with adolescent therapist and best selling author Madeline Levine, who wrote The Price Of Privilege. We have ten minutes of another amazing expert and the author of Teens In Turmoil – Carol Maxym. We have the “Teen Whisperer” chiming in on how he handles problems. We have Paul Williams who along with being an Oscar, Grammy, Emmy, and Golden Globe, Hall of Fame songwriter, is a recovery activist who travels the world speaking at AA and sobriety conventions. Paul speaks candidly about what parents should do in dealing with kids who are starting down that path. He also gives some important tips on how to maybe help them from even getting to that place. And then we have some unprecedented footage with James Frey, author of A Million Little Pieces, who has acknowledged his own problems with addictions and tells us some of the things that might have been done to stop him and what he would do with his kids.

Finally, we have Taylor three years after the fact talking to kids about how she felt then, how the film changed her and how she feels now. And of course I can never shut me up so there is the director’s interview and a hunk of footage shot in India when I had one of my bigger epiphanies of the last decade.

So please…tell your friends. Pass this on.

Many people have asked for it. Everyone who sees it says it has truly opened their eyes to issues in their past and present. I’m not saying this because I made it; it is worth the $19.99 if only for the bonus material. But the movie is fun too!!!!

And because life being what it is and me not having a press agent for this project, I have to take out my horn and do a little blowing of my own here. So these are some of the comments from people who have seen Lucky Ducks:

“Ever since I met you I’ve had a very high opinion of your brains and ability to be outrageously funny. But Lucky Ducks surpassed everything that I might have expected. The clear-eyed honesty, lack of self regard, and irony of your film are extraordinary, as is the fundamental tenderness with which you handled both Taylor and in the little vignettes Glenn.

Also, you must be one hell of a director to have elicited that performance from Taylor.”

LOUIS BEGLEY, Author of ABOUT SCHMIDT – WAR TIME LIES

“LOVED YOUR FILM!! Benton and I both thought it was MARVELOUS.It was true and awful and sweet and loving and oh, so wrenching. Upsetting,just what it needed to be. I thought the cinematography was wonderful and your direction was SUPERB. What a TALENT you have. The many vistas and locations, our beautiful neighborhood, all the young girls and finally, Taylor was incredible. She was wonderfully shrill when yelling and yet so very still and contained and vulnerable and strong in her own way. One can feel it, feel her despair and feel you through her. And finally, you were AMAZING as an actress. One of the most stunning and touching things was that you, who are always beautiful and sexy, allowed yourself to be filmed in every way: with smeared makeup and without it, with swollen eyes, looking anxious, tired and stressed…but mostly, the shocker was that you opened yourself wide and showed us your pain, who you are and every vulnerability. TOTALLY COURAGEOUS and what a thrilling film. BRAVO and heartiest CONGRATULATIONS. Nor to foget, Glenn was extraordinary! Thank you for such a beautiful, thoughtful and true film.”

SALLIE BENTON

“Recovering. What an amazing experience. You really have created a fantastically raw, powerful and mesmerizing film that is going to have people arguing, searching themselves, thinking about their mothers, about their children and their rel’ships…. . What really impresed me is that it moves from being a chirpy, well-informed and intelligent investigation into spoilt Park Ave children and turns itself into a darker, more wrenchingly personal cinema verite doc about a mother and her daughter and their very complicated interaction. But you made the right choice: the shift felt true, as if in making the movie you moved deeper into yourself and realized this went beyond $5000 handbags and into much more complex areas, and the viewer goes with you.”

JONATHAN BURNHAM, Chief Editor Harper Collins

“Your movie was so honest and funny. I thought it was brilliant. Really identified.”

ERICA JONG

” What a moving experience the screening was for me. There were so many synchonicities..The film had so much wisdom to impart while being completely entertaining not a small achievment. After reexamining all my values reliving all the pain and frustration, I am left with the truth that the Mother- Daughter relationship is just overwhelming.”

SOMEONE I NEVER MET

“Congrats on a job well done…the film is fast-paced, interesting, and so very very brave…it made me go home and set limits and type up a list of chores for Luca! Very thought-provoking…”

JESSICA VELMANS FROM ABC

“I really was impressed. Good movies are fucking hard to make it. You made one.”

JAMES FREY

“Your movie is shocking and touching and upsetting and scary and brave. Thanks for sending it.”

MIKE NICHOLS

“Your movie is extraordinary; I think you’re really brave to do such a no holds barred film; it is bound to provoke a huge amount of debate and launch 1,000 columns.”

JOANNA COLES, Editor-in-Chief of Marie-Claire

“I think everyone should see this movie, Lucky Ducks!!!”

JUDY COLLINS

So there you have it….

If you happen be by the newsstand today, in this month’s MARIE-CLAIRE we are featured in Abigail Pesta’s Q and A on page 101.

And on April 23 Deborah Eckerling is doing a Q and A for her writer’s website Writeononline..com
http://writeononline.com/

Casting Call for “Against Itself”

In Uncategorized on March 22, 2010 at 10:03 AM


*Image from 2007 film, ‘Mahek’

AGAINST ITSELF Casting Call
Submissions are now being accepted for the inaugural staged reading of the IFFLA Film Fund Development Grant winner, which will take place at ArcLight Hollywood during IFFLA. The script, AGAINST ITSELF by Kranti Kanade, centers on a secular expatriate American schoolmaster in India who struggles against a tide of anti-Christian sentiment that threatens his students, his school and his life. IFFLA Development Grant jury member and acclaimed screenwriter Gill Dennis (WALK THE LINE, THE TATOOED SOLDIER) noted about AGAINST ITSELF, “This script is haunting, gripping and gritty. Stunningly done, beautifully good, it dissects the great mess of our humanity with equal measures of humor and horror, while capturing the hectic multiplicity of India.”

If you are an actor interested in participating in the staged reading, you can view character breakdowns below and then send your headshot and resume to castingkanade@gmail.com.

– – – – – –
Headshots and resumes are now being accepted from the interested actors for the staged reading of the IFFLA Film Fund Development Grant Winner screenplay ‘Against Itself’.

The reading will take place during the Indian Film Festival of Los Angeles (IFFLA) 20-25th April 2010.

Please email it to castingkanade@gmail.com with the character name in the subject line. The characters:

1. Expatriate American Edward Baker (60’s, male), selflessly runs a boarding school for boys in India since thirty years on secular Gandhian principles.

The rest of the characters are Indian:

2. Varun (12, male) is an emotionally wounded student who comes from a dysfunctional family and is in search of a father figure.

3. Dr Tushar (35, male) is an ex-student of Baker who has now turned to right wing politics. He is the new local head of a right wing organization.

4. Mr Giri (50, male), a warmhearted teacher. Baker’s right hand.

5. Mr Daniels (50, male), teacher. Critical of Baker’s approach.

6. Miss Thomas (27, female), kind but firm history teacher.

7. Mrs Kurien (50, female), secretary to Baker.

8. Mr Natu (60’s, male) is Baker’s old friend and Dr Tushar’s father. He has political and ideological differences with his son.

9. Miss Iva (25, female), new Intern teacher at the school.

10. Stable Keeper (30’s, male), does a job he hates.

11. Opposition Lawyer (60’s, female), sharp & brilliant.

12. Police Inspector (40, male), has a sarcastic view of democracy.

13. Education Minister of State (60, female) calm & composed politician.

14. Kutty (12, male), Varun’s studious classmate.

15. Mohanty (16, male), an agitated 10th grader.

‘I saw Ash, Bipasha in me’

In Uncategorized on March 19, 2010 at 10:10 PM

Image: Rituparno Ghosh

Courtesy of Rediff Movies

By Aseem Chhabra

Rituparno Ghosh has directed 17 features films in Bengali, Hindi and even in English. But he has never acted in a film until now.

In the new film Just Another Love Story (Aareki Premer Golpp), Ghosh plays the role of a gay director working on a documentary on the life of veteran theatre actor Chapal Bhaduri.

Ghosh’s character is in a relationship with the film’s bisexual DP Basu (Indraneil Sengupta). In the film’s flashback sequences Ghosh also plays the young Bhaduri. The film is directed by Kaushik Ganguly. Ghosh also gets the billing of the film production designer and creative director.

A rare Indian film that openly explores the complexities behind gay and bisexual relations,Just Another Love Story was shown at the 60th Berlin International Film Festival.

Ghosh talked to Aseem Chhabra after the first screening of the film at Berlin.

What does a creative director do?

I think a creative director has finer goals, because directing itself is very complicated. It is bringing together so many elements which are almost contradictory to each other.

And it involves a lot of meticulous physical work. Half the time a director’s mind is occupied in accomplishing those nitty-gritties.

So here I think, as a senior and as somebody who is interested in the subject and intrinsically being a part of the film — I am officially the production designer. So I did the art design and the costumes. It was basically a collaboration where I was overseeing the creative.

I come from an advertising agency background where we always had a creative director who advised us as to how to take the campaign forward.

It is the aesthetic control, where sometimes the director gets too attached to his material and because since I was acting — I could be far more ruthless and say “Chop this scene out!”


‘Love Sex Aur Dhokha will leave you shocked’

In Uncategorized on March 18, 2010 at 2:39 PM

Courtesy of Rediff Movies

By Nithya Ramani

Dibakar Banerjee loves to pull the rug from under us.

He did it in Khosla Ka Ghosla and yet again in Oye Lucky Lucky Oye. And now the unconventional director is back again with the provacatively titled, Love Sex Aur Dhokha slated for March 19.

The movie deals with love, sex and betrayal in small towns in India shown through handycams, hidden cameras, CCTVs and mobile cameras. Given the bold subject matter and scintillating promos showing lots of nudity, it’s not surprising that the movie is generating a lot of buzz.

Nithya Ramani finds out more.

From Khosla Ka Ghosla to Oye Lucky Lucky Oye and now to Love Sex Aur Dhokha. You seem to love experimenting with films. Why such a shift?

Why not? I was a different person when I made Khosla Ka Ghosla in 2006 and a different person now. You grow and change. I get bored of doing the same thing over and over again. I want to do something different every time.

But running through the different themes of my films you will find a common element. This film is about two things: One, the line between what is private and public. There is so much happening around us today that makes me feel that the line between private and public is very blurred.

I ask myself, what is it that makes us consume these things about someone else’s life without knowing that person. This thought intrigues me.

Secondly, how the presence of a camera — a digital handycam in this case — changes things. People say that a camera records the truth. But I think a camera changes the truth. I believe that the presence of a camera actually changes the events in a person’s life.

These two things are the reason why I am making Love Sex Aur Dhokha.

Image: A scene from Love Sex Aur Dhokha

————————————————————————————–

Here are some reviews for the film that releases tomorrow in India!

Ratings: 4/5 – Reviewer: Taran Adarsh – Site: Bollywood Hungama
LOVE SEX AUR DHOKHA is not an easy film to comprehend either. The constant shaking of camera [it’s a digital film with a hidden camera playing a character by itself] may bother you initially, since this is the first time that a storyteller has used this technique in Bollywood to narrate three different stories in one film. But the material is so compelling [screenplay: Dibakar Banerjee and Kanu Behl] and the stories so captivating that you absorb this storytelling technique within a few minutes of its commencement.Dibakar makes an attempt to tell you that there’s no privacy in today’s age, courtesy cell phones, spy cams, sting operations and MMS. Technology is not just a boon, but also a bane and the film reiterates this fact. Final word? LOVE SEX AUR DHOKHA signifies the changing face of Hindi cinema. Ekta Kapoor’s first foray into experimental cinema has all it takes to be a cult film that might just trigger off a new trend in Bollywood. It’s courageous, disturbing and yet entertaining!

Ratings: 3.5/5 – Reviewer: Nikhat Kazmi –  Site: Times of India

You want something new. Go watch Love Sex aur Dhokha. It ain’t anything like you’ve seen before on the desi screen. But be forewarned. Dibakar Banerjee’s film is meant to be seen — and savoured — by shedding all your moth-balled beliefs about how commercial cinema must or must not be. Like the 3-D glasses which gave you a whole new kick out of James Cameron’s Avatar, here too, you need a new vision to understand how a breed of smart, young, professionals are hell bent on pushing the envelope of traditional Bollywood and literally pulling out the rabbit from the hat. The rabbit? A completely new idiom that only the bold and venturesome can dare to enunciate.

Special Thanks to Taran Adarsh of Bollywood Hungama and Nikhat Kazmi of Times of India!

Casting for “Sea Shadow”

In Uncategorized on March 17, 2010 at 12:00 PM

Emirati film director Nawaf Al-Janahi is preparing for his new feature film entitled “Sea Shadow”. The production is currently seeking actors/actresses for some of the main characters. Experienced actors are preferred, however, talented new faces are required as well.

This call is open to Emirati actors, and non-Emiratis who speak Emirati dialect fluently. The film is set to be shot in the city of Ras Al-Khaimah (UAE), in October 2010.

For more information please contact:
Noor Suliman
Tel: +971-55-501-9395

Casting dates/locations, and characters breakdown are available on the following links:
http://www.njan7.com/film/cccseashadow_a.html (Arabic)
http://www.njan7.com/film/cccseashadow.html (English)

Indicast Presents: Rahul Bose Uncut

In Uncategorized on March 16, 2010 at 9:21 PM

Courtesy of Indicut

Here’s a question for all you folks; see if you can crack it. What do you call a man who is an actor, screenwriter and director by profession, a sportsman who represented his country in one of the most physically demanding sports, a social activist, a food lover, a stand up comedian and someone who describes himself as half Bengali, one fourth Maharastrian and one fourth Punjabi by birth? Well, you can call the man – Rahul Bose.

Whether it’s the Women’s Reservation Bill which is making news at the moment or the beautiful craft of acting in movies, Rahul, in this candid chat with us is outspoken, eloquent and modest: a deadly combination. If you want to go visit that part of Rahul’s brain that breathes acting, listen to the following 4 min snippet where Rahul talks about how he prepared for his role of Snehmoy Chatterjee, a village boy, in his forthcoming Aparna Sen directed film, ‘The Japanese Wife.’

How does Rahul Bose prepare for a movie?

Listen to the entire podcast here (64 kbps) – 43.45 mins

Download episode: MP3 File (20 MB)

Note: Right-click on the above MP3 link and chose “Save target as ” or “save link as” to download the file on your computer.

Intro Music Intro music provided by Alms for Shanti

Invest in Artists, Not Art; in Individuals, Not Projects

In Uncategorized on March 12, 2010 at 1:13 PM
“Creative Capital motivates artists to be architects of 
their own future. Our programmatic blueprint melds 
financial support with an array of services so that artists 
can build a solid foundation for success.”
— Ruby Lerner, Creative Capital President

Courtesy of Hope for Film: The Next Good Idea

BRENT GREEN WAS 25 AND ABOUT to relinquish his dream of becoming a filmmaker when he discovered Creative Capital.

Green had been looking high and low for a $14,000 grant to finish an animated film. Creative Capital, a nonprofit based in New York, sized him up and offered something entirely different: $43,000 to help support his career over the next three years. It would go toward everything from equipment to transportation to the cost of a publicist. In return, Green would give Creative Capital a small cut of any profits.

In the five years since then, Green’s work has been shown at the Sundance Festival and a number of museums and film festivals in North America and Europe. He has even found himself turning down galleries eager to represent his work.

Borrowing ideas from the venture capital industry, Creative Capital is encouraging their grant recipients to become Artrepreneurs, and it is literally paying off.  Out in in the general world of every-day entrepreneurs, several folks have joined together to create Thrust Fund, an online marketplace precisely for such personal investments.

There’s only so much creative work any of can do without funding.  Sure, I can cut my overhead and take jobs for hire, but I know that my best work comes when I am collaborating creatively at the earliest stages.  The difficulty with this approach is I DON’T GET PAID FOR IT.  I can not keep doing development because I can’t afford to do it.

Producers these days are forced to look for ready to go projects that they can earn a quick production fee on.  Sometimes you can get lucky and find those projects that are aligned with your sensibilities, but that is nothing more than good fortune.  This approach used to work under the idea of “one for them, one for me”, but as an agent recently said to me in an effort to explain why I should be happy to receive less than half of my regular fee for similarly budgeted projects “precedent is not even a word we know anymore”.  When rates are dropping, what’s one to do?  Take more jobs.  When one is forced to work on project after project that they did not development, what happens to the quality of the work?  It gets worse, a great deal worse.

VentureBeat has a good profile on the Thrust Fund including their involvement with at least one filmmaker.  The film biz should take notice of these new investment strategies pioneered by both Creative Capital and the Thrust Fund.  Filmmakers should move off of the one project at a time approach and start looking for investment in the ongoing conversation.

Suffice it say, I am open for offers…  although I do think this sort of thing can move us even closer to a world of indentured servitude.  For better or worse, I have always avoided any debt beyond my mortgage and single picture finance, but hey, there still is such things as good deals.

Mira Nair’s “Amelia,” Opens in India!

In Uncategorized on March 11, 2010 at 6:00 PM

AMELIA (starring Hilary Swank, Richard Gere, and Ewan McGregor) opens in Mumbai on Friday, March 12th.

The Hollywood Reporter calls the film “impressive… a top-flight portrayal” of the legendary American pilot who disappeared in 1937 while attempting to become the first person to circumnavigate the globe.  AMELIA chronicles one woman’s meteoric rise to fame, guided only by her free spirit, determination, and profound curiosity for the world.

MUMBAI THEATERS:

Cinemax Infinity Andheri West- 6:45 pm, 11:15 pm

Fame Big Andheri West- 3:15 pm, 10:15 pm

Fame Inorbit Malad- 11:00 am, 8:30 pm

Fun Cinema Andheri- 5:15 pm

Inox Nariman Point- 2:50 pm

Big Cinemas Metro Fort- 11:30 am,8:15 pm

PVR Oberoi Goregaon- 1:20 pm, 3:50 pm, 10:40 pm

PVR Phoenix, Lowerparel- 1:15 pm, 3:35 pm, 8:20 pm

PVR Juhu, Juhu Vile Parle- 2:25 pm, 6:15 pm

Sterling Theatre Fort- 5:45 pm

Hope y’all in Mumbai catch it this weekend!

CHILDREN OF INVENTION: Why They Turned Down 8 Distribution Offers

In Uncategorized on March 11, 2010 at 1:36 PM

Courtesy of Truly Free Film

Today we have a guest post from Mynette Louie and Tze Chun, the producer director team behindCHILDREN OF INVENTION.  The film opens this weekend in New York and their whole journey through DIY/DIWO distribution has been fascinating to watch and a learning experience for us all.  They have been truly brave and really generous sharing a lot of information along the way.  I really love this film and truly admire both of them.  Please support their film.

Tomorrow they will share their Top 10 Reasons Why They Are Glad They Turned Down The Distribution Offers They Received.  Stay Tuned.

Top 10 (alright, 11) Reasons Why We Turned Down 8 Distribution Offers

1.    Couldn’t get straight answers about revenue projections, accounting and recoupment. Why this is bad is self-explanatory.

2.    Term was too long. Yes, it’s a lot of time and hard work to self-distribute, but we could always choose not to exploit some distribution channel if we figure it’s not worth it. We can’t, however, choose to get out of a 10 to 25-year deal. And if we did a 25-year deal, we’d probably be in old-person diapers by the time the rights revert to us.  And that’s just sad to think about.

3. Revenue share was too small. We know that specialty distributors have it tough too, and respect what they do (more than ever now that we’ve been through it) but revenue splits still have to be mutually beneficial for the filmmaker and the distributor.  With the state of things being so uncertain, it’s tough to figure out the fairest deal, but one thing’s for sure: if you can no longer offer an advance, then the other terms have got to give to make up for that.  A distribution deal today is a partnership, not a hand-off.

4.    Delivery requirements were onerous and costly. Some of the tape formats made us think they were distributing the film back in the 1980s.  We may as well have been burning Laserdiscs.

5.    Distributor was overloaded with other films. We didn’t want to be sitting on a shelf indefinitely or helplessly harassing our distributor to pay attention to us.

6.    Couldn’t get straight answers about marketing plans. Suspected that they had no marketing plan.

7.    Wanted more control over how our film was marketed. In our DIY mode, the approval process for our marketing materials is literally the two of us, director and producer, exchanging a few emails. Tze does all the graphic design and Mynette does all the web design.  Yes, it’s more work for us, but you really can’t beat the speed and efficiency of this model.

8.  We’d already done most of the hard work ourselves by the time people came to us with weak distribution offers. No thanks.

9.    Other filmmakers warned us not to do business with them. Warning to distributors: We all talk to each other.

10.  Distributor misspelled the name of the movie in their inquiry e-mail. Okay, we didn’t turn down the deal because of this, but it didn’t help.

11.  Distributor used the phrase “T&A” in conversation. Don’t do that, even if you’re talking to a guy.

Please support the NYC theatrical premiere of CHILDREN OF INVENTION and WHITE ON RICE on March 12! The films will run March 12-18 at the BIG Cinemas Manhattan (formerly the ImaginAsian), 239 E 59th St (bt 2nd/3rd Aves). CHILDREN OF INVENTION is also making its Los Angeles theatrical premiere on March 12, and will run March 12-17 at the Downtown Independent, 251 S. Main St (bt E 2nd/E 3rd Sts). Buy tickets and get more info here.

Finally, join the CHILDREN OF INVENTION Facebook group and follow @InventionFilm and producer@mynette on Twitter!

Bollywood Soars Toward Hollywood

In Uncategorized on March 9, 2010 at 4:45 PM

A still from “Peepli Live”

Courtesy of The New York Times

By Anupama Chopra

LITTLE about “Kites” suggests “Rush Hour.” An extravagant Bollywood romantic thriller, “Kites” features the Indian star Hrithik Roshan and the Mexican actress Barbara Mori as mismatched lovers who can’t speak each other’s language and end up on the run in New Mexico.

But last October, when the director Brett Ratner saw an unfinished version at a screening in Los Angeles, he found echoes of “Rush Hour,” his own Jackie ChanChris Tuckersmash hit. “It was two characters that were fish out of water,” Mr. Ratner said in a telephone interview, “only here it was an Indian and a Mexican. I’m not saying that ‘Kites’ will be the box office hit that ‘Rush Hour’ was, but I felt it had the potential to cross over to American audiences.”

So Mr. Ratner, who until then had seen only a few Hindi films, offered to re-edit “Kites” and make it more accessible for mainstream America. Working with Mark Helfrich, his editor on the “Rush Hour” series and “X-Men: The Last Stand,” Mr. Ratner pared the 118-minute film to 90 minutes. He lost some of the elements that “just wouldn’t translate,” including a song sequence featuring Mr. Roshan, and had the dialogue for all the characters, except the two leads, dubbed by American voices.

On May 21 the original Hindi version and Mr. Ratner’s reworked English version of “Kites” will be released simultaneously globally, receiving a much bigger push than is typical for an Indian movie in the United States.

“For me it’s about breaking barriers,” Mr. Roshan said in Mumbai. “The larger goal, the big dream, is to have an Indian film being watched by a world market.”

Bollywood already has a world market. Indian cinema has an annual estimated audience of over three billion worldwide. South Asians are avid consumers, as are viewers in countries as varied as Germany, Malaysia and South Korea. But the world’s largest film market, the United States, has remained impervious to the seductions of song and dance. “There are essentially two kinds of audiences in the West: mass and niche,” said Nasreen Munni Kabir, a documentary filmmaker and authority on Indian cinema. “The mass audience wants English-language films with known stars and familiar story lines. The niche audience accustomed to world cinema accepts subtitles, slightly longer films and unfamiliar actors. But these films must reflect a cultural, political and social reality of their country. Bollywood films by their very nature do not fit into either category.”

That state of affairs is beginning to change, thanks in large part to the staggering success of “Slumdog Millionaire.” Hollywood studios have made significant investments in Bollywood (with a few missteps along the way) and wouldn’t mind their Indian movies translating around the world. It also helps that the definition of Bollywood has become more elastic. No longer a monolithic style that denotes stars, songs and melodrama, Bollywood has also come to encompass something else; over the last decade new filmmakers have tweaked the traditional form so that Hindi cinema also includes films without songs that are stark and rooted in contemporary Indian realities.

Even established filmmakers are willing to break boundaries. So in the recently released “My Name Is Khan” the director Karan Johar forgoes his trademark opulent songs and feel-good emotions for a more grim subject: the plight of American Muslims post-9/11. Bollywood’s biggest star, Shah Rukh Khan, plays the lead, a man with Asperger’s syndrome, who embarks on a journey to meet the American president, after his family is devastated by a hate crime. The film, which was largely shot in America and features extensive English dialogue, is the first Hindi film to be distributed by Fox Searchlight. The opening box office was solid — “My Name Is Khan” ranked 13th on the United States charts, with nearly $2 million, but with a per-screen average higher than that of the Presidents’ Day weekend’s box office leader, “Valentine’s Day” — and Fox is currently exploring options of releasing a shortened international version. (The movie has now made nearly $3.4 million in the United States, one of the best showings for a Bollywood film there.)

Even as overblown Bollywood extravaganzas are being reworked to suit more minimalist Western palates, smaller, grittier Hindi films are making inroads via the festival route. In January “Peepli Live,” a low-budget black comedy about farmer suicides in central India, became the first Hindi film selected for competition at Sundance. In February “Peepli Live” screened at the Berlin Film Festival, alongside another crossover candidate: “Road, Movie.” A whimsical tale of a traveling cinema in rural India, “Road, Movie” was co-produced by Ross Katz, whose credits include the Oscar-nominated “Lost in Translation.” Fortissimo Films acquired distribution rights last year (another first for a Hindi film) and, according to Mr. Katz, “Road, Movie” should reach United States theaters later this year.

He acknowledged that getting people to attend a subtitled Hindi film might be tricky, but the crowd-pleasing nature of the film might help. “ ‘Road, Movie’ is a celebration of the movies,” Mr. Katz said in a telephone interview. “There is an infectious quality in the film, which hopefully will translate to global audiences.”

It’s doubtful that any of these films will pull off a “Slumdog”-style success, but there’s hope for making bigger inroads in the United States. Rakesh Roshan, who produced “Kites,” was cautiously optimistic as he supervised the sound mix of the Hindi-language “Kites” at a recording studio in Mumbai. “I think we haven’t been able to make a ‘Crouching Tiger’ so far because you need guts, and you need a vision,” he said. “Maybe ‘Kites’ won’t work, but at least we took a step forward.”

Meanwhile Mr. Ratner has already figured out his next move: “I would love to make a movie in Bollywood,” he said. “I would do American stars in an Indian musical. That’s my idea.”

What’s Next For ‘Hurt Locker’ Director Kathryn Bigelow?

In Uncategorized on March 8, 2010 at 3:13 PM

Oscar-winning director set to helm pilot of HBO’s ‘The Miraculous Year’ and, for big screen, ‘Triple Frontier.’

Courtesy of MTV.com

By Josh Wigler

Kathryn Bigelow made cinematic history at the 82nd Annual Academy Awards by becoming the first woman to win an Oscar in the Best Director category for her work on “The Hurt Locker.” While Bigelow has plenty of cause for celebration, her victory also leads to an interesting question: What’s next for the award-winning filmmaker? As of now, the 58-year-old director has two projects on her agenda, an HBO television series called “The Miraculous Year” and an upcoming feature film titled “Triple Frontier.”

In “The Miraculous Year,” Bigelow will leave the violent front lines of the Iraq War in favor of a street-level view of New York. The project is described by The Hollywood Reporter as a light family drama with a flamboyant Broadway personality at the story’s center. Bigelow will direct the pilot episode and is an executive producer alongside writer and fellow executive producer John Logan. Filming is expected to commence in May or June.

Bigelow’s “Triple Frontier,” on the other hand, has more in common with the gritty “Hurt Locker” than the comparatively sunny “Miraculous Year.” The film focuses on a lawless region of South America called the Triple Frontier, where Argentina, Paraguay and Brazil intersect. In an interview with Digital Spy, Bigelow revealed that the movie would rely on some of the same visual techniques seen in “The Hurt Locker.”

“I quite like that style, I have to say. It allows for a kind of experiential filmmaking — it puts you there,” she said. “Somebody was writing about ‘Hurt Locker’ and saying that during the scene where blood is being cleaned off bullets, [the writer] was creating saliva in his mouth so that he could help, then he [realized] how ridiculous that was! There’s something intriguing, if the story provides the opportunity, about parachuting the audience into a moment that he or she may not want to experience firsthand.”

Bigelow’s “Hurt Locker” collaborator Mark Boal wrote the script for “Triple Frontier.” During her acceptance speech at the Oscars, Bigelow praised the war journalist and screenwriter. She said, “I would not be standing here if it wasn’t for Mark Boal, who risked his life for the words on the page and wrote such a courageous screenplay that I was fortunate to have an extraordinary cast bring that screenplay to life.”

There is currently no official start date for “Triple Frontier.”

Kavi, Oscar Dreams and India!

In Uncategorized on March 8, 2010 at 12:55 PM

Courtesy of Dear Cinema

The Oscar bug is in the air. On the 7th of March this year, the rich and famous celebrities will haul a lineup on the famous red carpet. The flash of a few hundred cameras would only be a start to a magical experience. Certainly ‘dressed to impress’ would be their code for the evening. The media hawks eyeing their every move would also be a part of a few million witnessing this grand event live on television all around the globe.

Needless to say, it is a prestigious annual event. And this year, in that honored lineup of guests present in the Kodak theatre, there would be an Indian element also present waiting for the winner to be announced. The short film ‘Kavi’ directed by American nationality, Greg Helvey is an esteemed nomination for the ‘Short Film (Live Action)’ category. Kavi is a touchy story about slavery and child labour. “We wanted to have a lasting impact on the audience, and so we worked hard on deciding on the minute details like the colour tones of the film” explains the Assistant Director Vikas Chandra. And indeed it is evident that the film has an impact for sure.

“Greg did not seem like an outsider. He had a vision about the film. But initially it was rather hard to come to one creative plain but as things progressed, it started to become more creatively satisfying” says Vikas hurriedly packing his bags waiting to get on the airplane on its way to the Oscars.

Apart from a journey, Kavi is a social movie. Sagar Salunke, a young boy from Mumbai plays the character that is forced to work in a brick kiln as a slave. His only dream is to play cricket and go to school like a normal boy. Sagar plays the part naturally and wants to pursue a fulltime career as an actor. “The shooting wasn’t easy. Since I didn’t know english and the director didn’t know Hindi, the two of us had a tough time understanding each other. But we got help from the crew members and we worked things out in a less cacophonic way, but it was fun!” narrates Sagar jokingly.

“I really want to thank God and all our supporters for being there for us. The Oscars are such that our film is now recognized on the international platform and the intention is not to win but to make the people aware of the social conditions that are generally not highlighted” says producer Harish Amin. Indeed, needless to say that the target has been spot on. Also, Greg is also planning to make a feature length film based on this in the future.

Vikas explains, “Kavi had a narrow budget. Greg and Harish had got hard cash, but it was never enough. There were a lot of favors called in and a lot of phone calls were made. We had help from the local village who supplied us with small things. We had very little money to give to the actors, but we promised them a platform and recognition which was validated when we took the cast to Delhi last year and so little by little things fell into place” Moreover, the air tickets were sponsored by Air India and the stay is provided by Cox and Kings as a reward as well as a helping hand in return for their splendid efforts. “We had a lot of support in terms of sponsorship and favours, for example the costumes and last minute technicalities” remarks Harish Amin.

“One would call it our corporate social responsibility (CSR). But the real reason behind making such films is retaining our own sanity. It is only sacred to ask for intangible things in return rather than perishable tangible things. The scope for comprehension goes beyond words or even trophies for that matter. The essence of the message of the film if delivered is an award in itself” expresses Vikas while doing some last minute packing.

The time of departure was a busy evening of course, going through the check list so as not to miss out an important item, the family gathering and the neighbors crowding the house with pride in their watchful eyes, ladies and gentlemen, these people were on their way to the Oscars. “My family and my friends along with the neighbors are gathered here and we are celebrating and everybody is excited. I am so happy!” expresses an excited Sagar.

Indeed it would be an exciting time for Indians as well. In a large theatre with people all around the globe, there too will be a representation of India that the world inevitably cannot ignore. And with them, during the biggest movie event of the year, we too will be holding our breaths at the edge of our seats waiting for the winner to be announced. Millions are watching.

“And the Oscar goes to…”

….Okay the Oscar went to The New Tenants

Here’s a tip for all the filmmakers out there

In Uncategorized on March 4, 2010 at 2:16 PM

IFP at The New School:

IFP and The New School invite you to join us:
NOTE: The panel now starts at 7 pm.

Monday, February 22nd
TIME CHANGE: 7:00 pm to 9:00 pm
Admission Free
The New School, Wollman Hall
65 West 11th Street

RSVP:rsvp.ifp.org

Funding Your Film: Strategies, New and Traditional

Funders and filmmakers talk about that age-old question: how to raise money to make and distribute your film. IFP’s Industry Connect session will look at traditional models – grants, fiscal sponsorship through non-profits, equity investment – and new Web 3.0 strategies such as crowdsourcing, building fans, and other trans-media strategies that can help filmmakers of all levels make the best decisions for their projects from start to finish.

Panelists will be: Sarah Lash, Consultant; Jason Orans, Producer (GOODBYE SOLO); Milton Tabbot, Senior Director, Programming, IFP; Adella Ladjevardi, Grants Manager, CINEREACH; and Yancey Strickler, Co-founder, KICKSTARTER.

Cocktails and Networking to follow.

Making an Art Out of Credit Rolls

In Uncategorized on March 4, 2010 at 10:15 AM

Courtesy of The New York Times

By Alice Rawsthorn

LONDON — With only a week to go to the Oscars, it’s a good time to celebrate a category of moviemaking that doesn’t qualify for an Academy Award — the title sequences that mark the beginning and end of most films.

Even design nuts like me accept (albeit grudgingly) that great movies don’t necessarily need great titles. Take the front-runners in the current Oscar race this year. “The Hurt Locker” is an extraordinarily brave and poignant film, but its titles are best described as forgettable. As for “Avatar,” it’s a technological triumph marred by achingly awful title design. Dodgy typography, winsome symbolism and yukky colors are just a few of its graphic design crimes.

Great film titles might not be essential, but they’re definitely desirable. Like a beautifully designed book jacket or (back in ye olden days) record sleeve, they’re an unexpected, but rather lovely gift. Yet most contemporary title sequences seem to have been tossed off as afterthoughts.

They’re as dull as the lists of names of the cast and crew, which were projected on to closed cinema curtains up until the mid-1950s. Back then, movie credits were deemed so unimportant that projectionists would wait until the action was starting before opening the curtains to reveal the screen.

All of that changed when the cans of film for Otto Preminger’s “The Man with the Golden Arm” were delivered to cinemas in 1955 with a note attached: “Projectionists — pull curtain before titles.” This was to ensure that the audience would see the opening sequence designed for the film by Saul Bass.

It wasn’t the first movie with striking titles. Back in 1936, the names of the cast of the M.G.M. musical “The Great Ziegfeld” were literally spelled out in lights. In Britain during the 1940s and 1950s, Emeric Pressburger crafted equally elaborate sequences for the films he made with Michael Powell. Their 1945 movie, “I Know Where I’m Going,” opens with a mini-biopic of a girl growing up with the credits appearing on props: chalked on to a school blackboard, or painted on a truck.

But it took “The Man with the Golden Arm” to make title design mainstream. Mr. Bass went on to create sequences for about 50 films by directors like Alfred Hitchcock, Stanley Kubrick and Martin Scorsese. Other talented title designers emerged too. Robert Brownjohn set the sexy, insouciant tone of the early James Bond movies with his opening sequences for “From Russia With Love” and “Goldfinger.” Pablo Ferro struck a suitably sinister note in his designs for Mr. Kubrick’s “Dr. Strangelove” and “A Clockwork Orange.”

More recently, Kyle Cooper devised ingenious titles for “Seven” and “Spiderman,” as did the Kazakh director, Timur Bekmambetov, for his Russian blockbusters, “Night Watch” and “Day Watch.” Mr. Bekmambetov has also reinvented the forgotten medium of subtitles in the foreign language versions of his movies. Rather than lurking at the bottom of the screen, they reflect the action by gliding on and off screen at different angles, exploding in puffs of smoke and melting into liquescent pools.

Other filmmakers have yet to follow his lead when it comes to subtitles, but there were some interesting title sequences among films last year. Here is an (unapologetically subjective) Oscar-style shortlist of five “nominees” for “Best Title Design.”

One is the opening sequence of “An Education,” the British contender for best picture, which charts the sexual, social and (occasionally) academic awakening of a 1960s teenager. The titles, designed by Momoco in London, echo the plot with illustrated symbols of her different types of education: books, mathematical equations, scientific formulas, dance steps and love hearts.

Equally apt are the opening titles of “Food Inc.,” a best documentary feature nominee. As the film investigates the human and environmental cost of industrial food production, it opens with a “tour” of a grocery store in which the credits are embedded into the background by the title designers, BigStar in New York. The director’s credit appears on a packet of beef, and the editor’s on fruit and vegetable scales.

The third “nominee” is “Mesrine: L’Instinct de Mort” (Killer Instinct), the first of two films about the picaresque French gangster, Jacques Mesrine. It is set in the 1960s and 1970s, and the titles evoke that era. All of the text appears in a typeface chosen by the designer, Gianni Manno, to look as if it came from an old-fashioned typewriter. During the opening sequence, the typewritten lettering is juxtaposed with a scene from the film in the split-screen format of 1960s and 1970s heist movies.

As in the real Oscars, there are two front-runners for “Best Title Design.” One is “Un Prophète,” a French movie which is nominated in the foreign language film category. It tells the story of how an unprepossessing young prisoner, Malik, grows in confidence, power and assertiveness during his sentence. The Parisian titles designer, Fred Grivois, reflects his progress in the typography.

At the start of the film, the letters in the credits are so small and faint that they seem fragile and unfocused. By the end, they have literally grown into big, bold letters that fill the screen imposingly, just like Malik.

“Un Prophète” wins the design purists’ vote but, in the spirit of the Academy Awards, its clever conceptualism is trumped by the tear-jerking titles of “Precious.” Also a contender for best picture, this movie shows how Claireece Precious Jones, an illiterate Harlem teenager who has been abused by her mother and raped by her father, builds a new life with the help of a sympathetic teacher and social worker.

The opening credits, designed by Kristyn Hume in New York, appear in rough orange letters that look as though they were scribbled by Precious herself, not least as the words are misspelled. “Evryfin” for “everything” and so on. By the end of the film, she has learned how to read and those credits are written neatly and spelt perfectly. That’s why the “Oscar” for “Best Title Design” goes to “Precious.”

Tribeca Film Group Tries to Build a Distribution Brand of Its Own

In DJ Sumie on March 3, 2010 at 1:06 PM

Courtesy of The New York Times

By Michael Cieply

LOS ANGELES — Entering its ninth year, the Tribeca Film Festival is set to become associated with a new venture to distribute films digitally and in theaters under the Tribeca name. It is also embarking on another initiative to make some offerings available online to the paying public at the same time that they are screening at the festival.

The dual strategy, disclosed by Tribeca executives this week, puts this Manhattan-based festival and its corporate parent, Tribeca Enterprises, in the thick of a fight to revive the faltering independent film world with new distribution schemes. Those are typically built around video-on-demand operations and have often traded on the cachet of film festivals, including Sundance and South by Southwest.

Just this week, one such service, FilmBuff, said it had acquired the right to show a pair of films, “Erasing David” and “Crying With Laughter,” on iTunes and Amazon.com, simultaneously with their premieres at South by Southwest, in Austin, Tex., later this month.

But Tribeca’s foray stands out as a particularly bold effort to combine the promotional pop of a major festival — which gets marketing support from American Express, a longtime partner — with a new distributor that will acquire and release movies under the name Tribeca Film, even if they have no direct connection to the festival.

“This is about getting as many eyeballs on that film as possible,” said Jane Rosenthal, a producer and Tribeca co-founder, who discussed the plan in a telephone interview.

Ms. Rosenthal said she expected the new distribution venture — which has backing from the investor Jonathan Tisch, a member of the Tribeca Enterprises board, and his Walnut Hill Media group — to release 10 films a year. It will focus on video-on-demand distribution, but sometimes, at least, it will include a theatrical release in commercial theaters.

Five of the new venture’s first releases, Ms. Rosenthal said, are to be distributed simultaneously with their showings at the Tribeca Film Festival, which runs from April 21 to May 2. Those include “Climate of Change,” a documentary about environmental activism narrated by Tilda Swinton, and “Road, Movie,” a film by the director Dev Benegal that tells the story of a road trip in India.

Ms. Rosenthal founded the Tribeca festival with her husband, Craig Hatkoff, and her business partner, Robert DeNiro, in 2002, to help revive Lower Manhattan after the 9/11 terror attacks.

She has talked for years about turning the festival into a platform for the distribution of at least some of the thousands of independent films produced each year. But she and her partners only recently struck deals with cable and telecom operators like Comcast, Cablevision and Verizon FiOS to distribute movies on a pay-per-view basis to about 40 million households. Those films will be available for a period of at least 60 days, Ms. Rosenthal said.

Separately, the Tribeca festival is expected to make a number of feature films, shorts and filmmaker events available to 5,000 purchasers of an online premium pass that will cost $45.

Geoff Gilmore, who was the director of the Sundance festival before joining Tribeca Enterprises as its chief creative officer last year, said that such efforts were needed to keep film festivals from losing their appeal at a time when independent movie-making has been troubled by the collapse of traditional financiers and distributors like Miramax Films and Warner Independent Pictures.

“Festivals don’t have the kind of promotional force they might have had a decade ago,” Mr. Gilmore said.

He acknowledged that it would take time to find a balance between the commercial purpose of Tribeca Film and the curatorial function of the festival, but described such accommodations as necessary.

“It has to do with the changing nature of what a festival does,” he added.

At the Sundance festival in January, YouTube introduced a movie rental option that offered five films, including “One Too Many Mornings” and “Bass Ackwards,” as soon as they had festival premieres. Sundance has also made films available via cable and satellite on-demand services through a program called Sundance Selects.

Cablevision’s Rainbow Media, which owns the Sundance Channel and IFC, has aggressively promoted on-demand arrangements that have increasingly supplanted a theatrical release for less expensive films.

Ms. Rosenthal said that Tribeca had not yet decided how its films would be handled theatrically, though she said the company’s emphasis would be digital media, including DVDs.

Reached by telephone this week, John Sloss, a lawyer and filmmaker representative who helped to found FilmBuff through his interest in Cinetic Rights Management, said he welcomed the proliferation of on-demand services.

“I think it’s a good thing all the way around,” Mr. Sloss said. He noted that FilmBuff, which operates both online and through cable operators, was intended to offer both old and new films, while avoiding association with any one festival or library.

“Trusted filters are going to become more and more critical,” he said.

TED Talks Presents Raghava KK: Five Lives of an Artist

In DJ Sumie on March 2, 2010 at 1:59 PM

Courtesy of TED

Check out our dear friend and renown artist, Raghava KK in his talk for TED! Congratulations, Raghava!

Take a Journey with ‘Road, Movie’… Opening in India!

In E. Nina Rothe on March 1, 2010 at 5:13 PM

Courtesy of The Ajnabee

By E. Nina Rothe

On March 5th, those lucky enough to live in my favorite land on earth will be privy to the countrywide release of the highly anticipated Dev Benegal film ‘Road, Movie’. The movie has been beloved by all who have seen it do the rounds of film festivals and has had quite a few awards bestowed upon it by juries around the world. For North America, we will have to wait until April/May for the release. My hunch tells me it will be at Tribeca Film Festival here in NYC, right before its theatrical distribution by Fortissimo Films

Director Dev Benegal wrote recently, in his FB update: “Road, Movie in Cinemas across India: Mumbai, Thane, Pune, Ahmedabad, Gandhinagar, Baroda, Surat, Rajkot, Delhi, Ghaziabad, Noida, Faridabad, Gurgaon, Jaipur, Chandigarh, Mani Majra, Kanpur, Lucknow, Indore, Nagpur, Kolkatta, Guwahati, Bangalore, Mysore, Hyderabad, Goa. To begin with…” so you have no excuses not to catch it if near to any of those extensive locales.

Back in September, I wrote a short piece about it right here on The Ajnabee which also included the trailer and a synopsis of the story. So click on the link above for all the info you may wish to know and if you need extra incentives to go watch this film I have been chomping at the bit to see. I leave you to stare at the hunky photo of Abhay Deol casually sporting his cool pink t-shirt, leaning against the turquoise/yellow truck with the Rajastani sky in the background.

Image courtesy of Studio 18

Check out this fly video from the film!