It’s beautiful when it’s calm and violent when there’s a surge. The stranger has an ego, and if you hurt that ego, there is violence. As we fight disinformation and misinformation, and keep apace with the happenings, we need to commit greater resources to news gathering operations. That’s why, in the entire movie, you don’t see any real violence, even though the violence is there. Now I’m not crowdfunding my own films. As a subscriber, you are not only a beneficiary of our work but also its enabler. But it’s the women who are propagating patriarchy. It’s a script I wrote in 2010 and later developed with KV Manikandan. interview. It was created by men for benefits. In Sanal Kumar Sasidharan ’s An Off-Day Game (2015), a drunken day unmasks a society intoxicated with its own sense of power. People are doing harm to their own bodies in the name of worship. This is why I like Kieslowski. 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. The government made the submission on a petition filed by Sanal Kumar Sasidharan seeking a CBI probe in the mysterious death of his cousin … 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. Filmmaker Sanal Kumar Sasidharan has alleged foul play in the death of his relative, Sandhya. Also because these kinds of camera movements take a lot of infrastructure. Kerala filmmaker Sanal Kumar Sasidharan alleged foul play over the death of his relative, Sandhya, a 40 year-old resident of Thiruvananthapuram. In Kerala, and everywhere in India, nightlife is very dark and always dominated by men. interview spb; opinion timeline editorial columns feature interview varavishesham samy's corner letters kazhchakkappuram; covid-19 timeline photos day in pics arts & culture shoot @ sight sports specials Visual Stories. I’m trying to polish myself to make sure I don’t become like them. He suspects mafia hand in the death of the 40-year-old at the Neyyattinkara Taluk hospital last week. The Hindu has always stood for journalism that is in the public interest. Fortunately for us, over 800 people turned up for the screening. And people have an already set taste and mindset. Sometimes I don’t even give them a clear picture of what the scene will be and how it will end. Yes. Here, if you see an open landscape, you’ll be frightened. So it’s not only about gender. But it will happen, eventually. Rituals, worships, sacrifice. Then in 2015, we made another crowdfunded feature, Eli Eli Lama Sabachthani. Industry cinema is repeating itself—repeating stories, patterns, styles. His 40-year-old kin died recently. But they are not contributing with awareness. Does the narrative structure of the film come together during the editing process, then? How did you come up with the music for the film? It will take time. The Emraan Hashmi-led Harami, Sanal Kumar Sasidharan’s new film A’hr and Ananth Narayan Mahadevan’s Bittersweet are among the seven Indian titles that have been selected for … But why is there no physical violence in the narrative part of the film? But I’ve stopped doing that because it started affecting the release of my movies. The foundation Niv Art Movies funds my movies. Excerpts: The Kazhcha film festival started in the spirit of protest and rebellion. You’re well-known for making films without scripts. ND/NF Interview: Sanal Kumar Sasidharan By Devika Girish on March 21, 2017 As one of the founders of the Kerala-based independent film collective Kazhcha Chalachitra Vedi, Sanal Kumar Sasidharan has been a prominent figure in the recent resurgence of Malayali indie cinema, which has its roots in John Abraham’s “people’s cinema” movement of the 1980s. I want to use the camera to create a mood. I don’t have a problem with their thought process when I write. Yes. “Sexy Durga” is quite a provocative title. - Nisha's husband emotional interview! sexy durga. You can always see the closeness of these human beings, their faces, and their fear. It’s very organic and I love to watch it happen. There was an apprehension that this might not work with the Tamil audience. Because this graphic violence that we see nowadays in film—cutting, stabbing, blood coming out, screaming—this kind of violence is very rare in our society. Cinema is the most important thing for me. That’s what created a spark in me when I wrote Ozhivudivasathe Kali. But at the same time, violence is everywhere, in every moment. Yes, survival is also equally important. I put them in a location and give them a situation. Printable version | Dec 19, 2020 3:08:43 AM | https://www.thehindu.com/entertainment/movies/sanal-kumar-sasidharan-interview/article30781967.ece, Anurag Kashyap and Anil Kapoor battle it out, George Clooney’s sci-fi quest and a new British period drama are among the highlights of the week, The platform’s first Hindi anthology, Jeremy Clarkson’s new travel adventure and two romantic comedies are the highlights of the week. My crew also knows nowadays that the plan, whatever we’re going to do, will change at the location. Everybody contributes, but they don’t know what they’re contributing. If something is violent, we will accept it. And that acceptance of violence comes from very sacred places. I was fascinated by his Dekalog. Fresh off the screening of ‘Chola’ in the Orizzonti section of the Venice Film Festival, Sanal Kumar Sasidharan opens up about the movie, which originated in the Suryanelli rape case. That’s why I didn’t want to show actual violence. However, we have a request for those who can afford to subscribe: please do. I’m a little wary of following the three-act structure and I don’t succumb to it. Sanal Kumar Sasidharan, the 40-year-old Malayalam filmmaker is no Marxist, nor does he have any ‘jihadi’ connection. The documentary shots that bookend the film, depicting the Garudan Thookam festival in Kerala, feature graphic shots of men inserting spikes into their bodies and walking on burning coals. That’s why I used it. Malayalam director Sanal Kumar Sasidharan on collaborating with Manju Warrier in ‘A’hr (Kayattam)’ Saraswathy Nagarajan Thiruvananthapuram, May 26, 2020 16:56 IST Movie Interviews First of all, what is patriarchy? No, I had an idea of how I wanted to make this film. Sanal Kumar Sasidharan, who last directed Nimisha Sajayan and Joju George starrer Chola, in a recent media interview, revealed that his upcoming movie A'hr Kayattam with Manju Warrier might get an OTT release. John Abraham has not aesthetically influenced me, but his way of working has. The cinematography of the film is very striking, especially the long and fluid shots. 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. “The movie has unique content. She said it might drop down to 50 (laughs). So basically, I can foresee the editing process while shooting. When the shooting is finished, my film is also finished. I have an idea in my mind and what I want to communicate is clear to me. Everyone is trying to dominate others. People looking for online information on Sanal Kumar Sasidharan will find this news story useful. You started a filmmaking collective in Kerala, “Kazhcha Chalachitra Vedi,” that is known for making films that are crowdfunded, improvised, and even copyleft. Filmmaker Sanal Kumar Sasidharan has alleged foul play in the death of his relative, Sandhya. So yes, it is a kind of auteur-ship. Sanal Kumar Sasidharan is a symbol of hope for independent filmmakers. 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’m aware of it. What follows is a protracted drama of dreadful anticipation as Durga and Kabeer attempt repeatedly and futilely to escape the two men, encountering corrupt cops and menacing, meddling strangers on the way. There’s no rehearsal, it’s very raw. Bollywood Interview; Interviews; There Will Be No Self-Censoring: Director Of S Durga. It’s not just about gender. If they don’t consider it as art, then it’s very strange. Sanam's deadly combination with this has everyone in splits - Latest BB video here! It’s the same thought/idea that I tend to develop in each of my movies. 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. My work doesn’t define me: Sanal Kumar Sasidharan on ‘Chola’ and taking a break from social media, Subscribe to our First Day First Show newsletter, Coronavirus: All the movies, TV shows and festivals delayed or shut down globally, New on Netflix this week: ‘AK vs AK’, ‘The Midnight Sky’ and more, New on Amazon Prime this week: ‘Unpaused’, ‘The Grand Tour’ Season 4 and more, The science behind why a cricket ball swings | The Hindu In Focus Podcast, Study traces flood-driven wildlife migration in Kaziranga. According to multiple Facebook posts written by the filmmaker on the issue, there were alleged attempts from the part of local police to rush the funeral without conducting a post-mortem. I was thinking about violence—where it comes from and why it is so acceptable in our society. 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. Those films directed me to this kind of filmmaking. There are efforts being taken to stay away from the usual approach. Is he a big influence in your filmmaking? For me, the editing happens simultaneously while I shoot. Nobody is against it. It’s kind of like… shaping them in acting. Sanal Kumar Sasidharan’s Interview With Dhruvan Gautham Of Filmmakersfans.com Dhruvan: What was your inspiration to make this film?. I had no idea how to make a film and how to find a producer. Would you consider your filmmaking method to be collaborative? He has become the face of independent cinema in Malayalam with five movies of varying degrees — both thematically and structurally. Were those also improvised while shooting? The new language is called ‘Ahr Samsa’ and Ahr means ‘to climb’,” Sanal Kumar Sasidharan clarifies unfolding the mystery behind the title. We have been keeping you up-to-date with information on the developments in India and the world that have a bearing on our health and wellbeing, our lives and livelihoods, during these difficult times. But if there’s a lady on the street whose name is really Durga, she might be considered a prostitute. What made you come up with this particular title? They don’t realize that we are encountering Durgas on the street everyday and that they are suffering. In addition to John Abraham, who are your other influences and inspirations when it comes to filmmaking? I already knew that these were the kinds of shots I’d take, lengthy shots. It worked very smoothly. I’ve been revisiting it over the last 10 years, and it was a revelation for me every time. His movies do something inwards, but there’s no rational explanation. There’s this very modern, Western-sounding metal music that contrasts with the traditional music accompanying the shots of the Garudan Thookam festival. When people show it, what is the point they are making? Men rule the roads, and if a woman is out in the night, it’s like predators and prey. The films you’re making are very different from the kind of cinema that’s most popular and widely consumed in India. Do all the members of your crew have creative input in the making of the film or are you an auteur-like figure? Karthik’s name crossed my mind and I messaged him. I become an observer. But the problem is that we still have no money to advertise or to reach out to people. Even for Chola, people who like my work but don’t like me, started working against the movie. To enable wide dissemination of news that is in public interest, we have increased the number of articles that can be read free, and extended free trial periods. It’s like using a seashell from the seashore. 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. Sexy Durga definitely feels very improvisatory and organic, but it’s also a tightly structured thriller. I have a complete idea of the film from the beginning, even though I have a lot of lacunae which I leave for them to fill in. Sanal Kumar shares his views on a wide range of topics, including his new film 'Sexy Durga', freedom of expression and burden of imposed celebrityhood.. sanal kumar sasidharan. You can’t call it violence, it’s pure sacrifice. sexy durga film review. I needed this claustrophobic, closed [sense]. A young Hindu-Muslim couple, Durga and Kabeer, elope together in the dead of the night and hitch a ride with two punkish youths who promise to deliver them to the nearby railway station. I never prepare my actors. But as a road movie, set in the dead of the night, it becomes the perfect premise for a thriller. If you’re talking to a stranger, there’s a violence in that. My work doesn’t define me. He has become the face of independent cinema in Malayalam with five … He graduated from both Zoology and Law but later chose filmmaking as it was his passion. Sanal Kumar Sasidharan is back in India after his glorious win of The Hivos Tiger Award at the International Film Festival of Rotterdam 2017 for his latest film Sexy Durga. Special Arrangement. I can see what is happening and what I need to put in the next scene. But even if something is very good, I may still not use it because of my sensibilities. What is your approach to filming violence? 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. interview spb; opinion timeline editorial columns feature interview varavishesham samy's corner letters ... tags: case diary, sanal kumar sasidharan, sanal sister death, tvpm medical college, neyyatinkara taluk hospital, vinod sen, kerala police. It is a black screen at the beginning except for a flickering flame. By Anthony Kao. March 21, 2017. Two lovers from different communities and religions eloping together is a classic setup for a drama. A scene from ‘Chola’ | Photo Credit: I also feel that there’s a lot hiding inside me. The music director of the film, Basil Joseph, has worked with me on my last two films. Maybe it’s because of my family structure. I have a producer, Shaji Mathew. The film is about how we worship the goddess Durga, and at the same time, how we treat women on the street. But knowingly or unknowingly, I keep revisiting these themes in my movies. It’s like a drama. (Laughs) I remember saying that. But the tag ‘independent’ filmmaker does not bother him any more. Watch | To where is Bangladesh relocating Rohingya refugees? In a road movie, you expect something visually rich, like open landscapes. Posted on April 6, 2018 May 14, 2020; 6 minute read; by Wayne D'Mello How did you see these issues of language and religion intersecting with the theme of gender? His 40-year-old kin died recently. So I think about how I will shoot the movie and what its structure will be like way before we start shooting. But the narrative part of the film has no violence, though the threat of it is a constant source of suspense and tension. We also reiterate here the promise that our team of reporters, copy editors, fact-checkers, designers, and photographers will deliver quality journalism that stays away from vested interest and political propaganda. We are living inside violence. You can support quality journalism by turning off ad blocker or purchase a subscription for unlimited access to The Hindu. It has helped us keep apace with events and happenings. Whatever I say/write on social media is part of my dialogue and I make no bones about it. Gender is the main part, but at the same time, it’s about power. The movies I have directed so far have a common thread. “People call it ‘indie’ movie until they watch it. These things I’m very clear about. I was keenly watching these kinds of film society movements, the Odessa film movement. Someday, somebody would come up with a new pattern, which we would adapt to. Chola ends by asking a cardinal question and people were curious to find answers. But now, survival is happening anyway, so that shouldn’t be an issue. When you think of a road movie, you think of a lot of openness, scenery, nature. It’s very difficult. After Sexy Durga, Sanal Kumar Sasidharan is back with Chola, arguably his angriest, boldest, and most sophisticated work yet.In this interview with Cinema Express, the filmmaker talks about working with actors like Joju George and Manju Warrier, the genesis of Chola, and the societal issues that still bother him.. Excerpts from the interview: How did you come up with the idea of shooting this as a road film? Sanal Kumar Sasidharan gives us a really disturbing film, told through some great performances – Joju George especially, and Nimisha Sajayan too – and an eerie presentation. But crowdfunding is going on with Kazhcha Chalachitra Vedi and we circulate films throughout Kerala through the Cinema Vandi [Cinema Cab] movement. I am the filter. Sacrifice is something we consider spiritual. This parallel—or not parallel, but independent— cinema movement is happening everywhere in India, and slowly a lot of people are joining. In an interview … I’m sure many people have drawn parallels between your society and John Abraham’s Odessa Collective. Sanal Kumar Sasidharan is a Film Director known for his vivid work in the Malayalam industry. Then I tried to make a film on my own and approached a lot of people, but no one was willing to produce it. PC/Sanal Kumar Sasidharan FB Kerala filmmaker Sanal Kumar Sasidharan alleged foul play over the death of his relative, Sandhya, a 40 year-old resident of Thiruvananthapuram. I talked to my colleagues and friends and we formed a film society in 2001, the “Kazhcha Film Society.” We crowdfunded and made several short films, and in 2013 we made our first feature film, Oraalppokkam, which was also crowdfunded. That’s why the film looks organic. I wanted to bridge the gap between real life and fiction. In Sexy Durga, Sasidharan unfurls a diabolical nightmare on the streets of Kerala, an Indian state celebrated as “God’s Own Country” for its abundant natural splendor. According to … Kayattam, directed by award winning filmmaker Sanal Kumar Sasidharan, uses a made-up language they call Ahr Samsar.All ten songs of the film are in this language. He really liked the movie and wanted to present it through Stone Bench Indie. I told him that we needed to make something like this, but purely modern. But in this movie, even though it is a road movie, you can’t see openness or nature. We have changed certain things in terms of pacing. I think so. Once that is fixed, I plan scenes and scenarios. Because ultimately the film will speak what I want it to speak. It’s a support for truth and fairness in journalism. filmmaker Sanal Kumar Sasidharan has come out with a few chilling revelations about the mysterious death of his niece apparently due to Covid-19. That’s why I used this documentary footage. It’s power politics. The movie was too harsh for them. In that sense, water is a metaphor for life. ‘Why don’t you allow Ilayaraja to meditate at recording theatre just for a day?’ HC asks landlords, 11% of Indian sharks, rays and chimaeras face high risk of extinction, finds IUCN assessment, Microsoft, Starbucks team up for virtual coffee catch-ups for Teams users, Google to let users try makeup in Augmented Reality, Four arrested for listing PM Modi’s Varanasi office listed for ‘sale’ in OLX, Twitter to relaunch verification policy from January 20, How Instagram uses machine learning to personalise posts on your Home Feed, India’s COVID-19 cases cross 1 crore mark, UPSC prelims: govt. Keep apace with events and happenings set taste and mindset people call violence! My work but don ’ t realize that we needed to make something like this, but there ’ about... Because these kinds of shots I ’ m a little bit problem with thought... 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