Sunday March 8, 2020
GHODE KO JALEBI KHILANE LE JA RIYA HOON
121 min followed by a conversation with writer and director Anamika Haksar, sound designer Gautam Nair and VFX designer Soumitra Ranade.
As part of
Mother Truth and her Unruly, Loving Children
Ghode Ko Jalebi Khilane Le Ja Riya Hoon draws from documentary, theatre, poetry, dastangoi, music, painting and animation in the rich and 'impure' tradition of cinema, where impossible movements across these art forms can happen. The film shows us Shahjahanabad or Purani Dilli as a magic-realist or tilismi milieu, where both impossible and ordinary events happen all the time.
But wait, maybe "magic-realism" or "tilism" are not the right terms here, and maybe something else is going on in film, when there are dreams + reality at this density (dreams are not central to the magic-realist tradition, because it is reality itself that must be magical).
What kind of landscape do we get when "400 actors" in the film are all dreaming, performing and being themselves at the same time? This is cinema against banal histories of historical places, and cinema with the people, but does it also anticipate something? What do we get from the 75 conversations in Old Delhi the film is based on? What kinds of actions does the film perform on the landscape?
In her first feature film, the senior theatre director Anamika Haksar gives us a realism of film construction with many people to watch, irreverent dialogues to remember and images to take pleasure from. With several of the crew present, this should be a special screening, a magical mystery tour, and song for Delhi.
Produced by Gutterati Productions
Story, Screenplay, Direction - Anamika Haksar
Dialogues - Lokesh Jain
Research - Lokesh Jain, Chavi Jain. Assisted by Sarita Sahi
Director Of Photography - Saumyanand Sahi
Editor - Paresh Kamdar
Sound Designer - Gautam Nair
Production Designer - Archana Shastri
Executive Producer - Gurudas Pai
Costume Designer - Sneha Kumar
VFX - Soumitra Ranade | Paperboat Design Studios Pvt. Ltd.
Background Score and Music : Tyrax Ventura
Rabab Composition - Usdat Dowood Khan Sadozai
Wedding Song - Utsav Nanda
Lyrics for Rap - Piyush Mishra
Lyrics for Wedding Song - Shellee
Art Director - Manish Kansara
Assistant Art Director - Rishu Shankar, Prassanna D
D.O.P. Assistants and Focus Puller - Srikant Kabothu, Sahil Bhardwaj
Gaffer - Tanushree Das
Colorist - Sidharth Meer, Bridge Postworks
Mixing Engineer - Sinoy Joseph
Assistant Sound Recordists - Ved Chandra Madesia, Swaroop Nath Bhatra
Boom Operators - Santosh Mishra, Sandeep Rambade
Assistant Editor and Postproduction Supervisor - Piyush Kashyap
Additional VFX - Shyam Sundar Chatterjee
Glitch - Piyush Kashyap
Patru - Ravindra Sahu
Akash Jain - Lokesh Jain
Chhadami - Raghubir Yadav
Lal Bihari - K. Gopalan
Peepni - Prasanjeet
About the Director: This film is the brainchild of Anamika Haksar, an eminent theatre director in contemporary Indian theatre. Having trained first under Badal Sarcar and then B.V. Karanth at NSD, she was one of the few Indians to train at the State Institute Of Theatre Arts, Moscow. These influences have led her down an uncompromising path of formal experimentation in theatre that has earned her a prominent place in the Indian theatre lexicon. She has been awarded the Sanskruti award in the year 1995 for developing a new theatre language in India. She is one of the few theatre practitioners who was invited to the Kochi Biennale in 2016 to exhibit a theatre installation. Now, having evolved a script of her love for the life and history of Shahjahanabad, Anamika seeks to bring her unique, tried and tested sensibility into the cinematic medium with a complex narrative about the old city.
We will update with new date shortly
Saturday March 14, 2020
with Pankaj Rishi Kumar
SUSPENDED :( Hope to be back in the near future
This season of projections at CAMP begins on weekend evenings starting Saturday, February 29, or leap year day.
Pad.ma invites you to
Rivers without Banks
27th December, 2013 through 27th January, 2014
Before the start of a new year; and among big and small resolutions for the future we chose to ask ourselves what is free cinema today, what is its political and perceptual economy, and what could we summon of its powers, before embarking on new journeys of making and thinking.
Rivers without Banks is a screening program of films whose durations extend beyond conventional length. But importantly, this is not a collection put together quantitatively, even as we may argue that the epic scales present in the chosen films carry the weight of histories, and put together chronologically show us a century where individual everyday lives face the annals of terrible power; where the human condition battles with nature and technology, with love and loss, with good and evil.
A roof-top venue that has been active since 2006, in this location since 2009.
The film evokes the practice of the diary film, at once observational and reflexive, and draws power from its twin strategies of frugal economy and long duration. Screening & discussion with Renu.
ASSEMBLY, 30 min.
YEH FREEDOM LIFE, 70 min
Followed by a discussion with Priya
Punto De Vista
International Documentary Festival of Navarra
Retrospective: Oceanic Feeling
Shaina Anand in conversation with Shaunak Sen Talk: India Art Fair 02 Feb, 5:00-5:45 PM
Drawing from a recent body of post-cinema assemblages and experiences from the Mumbai based collaborative studio CAMP, artists, filmmakers and researchers Shaina Anand and Shaunak Sen will discuss the before and after of Cinema and the Present.
CAMP did an afternoon seminar with the Goldsmiths curatorial knowledge PhD program and its "advanced practices" group. With Irit Rogoff, Adnan Madani, Ramon Amaro, Bridget Crone and students.
Screening of a new 5-channel film by CAMP: 85 minutes
A Passage Through Passages is inspired by ethnographic and archival work in five field sites.
The screening is followed by a discussion, and a response from Susan Schuppli.
A Passage Through Passages is inspired by ethnographic and archival work in five field sites. The central feature of the exhibition is a multi-screen film work by CAMP.
Shaina presents the infrastructures of CAMP and her cinema programming at ECH, Kolkata.
Artist talk @ Beginnings with CAMP
Workshop with Students of ERG/Artistic Practices and Scientific Complexity Masters/Kobe Matthys at Argos.
Beginnings is an exhibition tracing some of the conceptual and artistic origins of CAMP. At ARGOS, Brussels as part of new beginnings at ARGOS itself.
Artist talk: Shaina A at Institute for Comparative Modernity, Cornell University.