Where Do We Go Now feels a bit more manufactured than Caramel. Labaki casts an entire village, but that doesn’t seem to enrich the film in any manner other than to expand it horizontally, in scale. Premiered at the 2011 Cannes Film Festival, it features Labaki in the lead role; as she tries to establish herself as being distinct from the rest of the characters. The central ideas, those of sectarian and religious issues and the resulting violence, however deserves a treatment more complex than the film presents. Its surface level pleasures are intact – the cinematography is rich, colour palettes are employed to establish the diversity of cultural identities present on screen, but the film seems to be in a rush to establish a conflict, and therefore, its resolution. Where Do We Go Now may indeed be a simplistic rendering of a complex situation – but it has at its heart, as in its title, an admirable inquiry.- Suraj Prasad
Labaki prepares a strong debut – a maturely crafted universe populated by various diverse identities, characters and people, who the director genuinely cares for, for she does not direct extensive attention to their emotional turbulence or their dire situations; instead managing to sustain a light-footed touch throughout with a disclaimer, ‘c’est la vie’. Life, as it is, devoid of overt performance or drama meant to solicit a reaction. One can only be thankful, for the film achieves it, even while revealing the rigid structures that impose themselves on the day-to-day lives of the women in the film. Labaki herself is the lead protagonist, the part of an extra-marital affair, but like her character, all the women yearn for love or company, though the cultural environment doesn’t let them vocalise their circumstance.- Suraj Prasad
Kiran Nadar Museum of Art and Lightcube present Gutter Moons, a series of films that are activist – not because they pursue a strict, single code that all activist material must, but because in their very molecule of existence and the state of their being, these films, like Boudu, are fundamentally at loggerheads with the world around them. Their ‘activism’ is not therefore an agenda, as much as it is a trait; not as much as their instrument, as their very nature. The festival features titles like Harun Farocki’s The Inextinguishable Fire, Abel Ferrara’s Ms. 45, Chris Marker and Alain Resnais’ Statues Also Die, Masaki Kobayashi’s Harakiri and Djibril Diop Mambety’s Contras City. For details click the tab above.
Transmissions is LCFS’s flagship annual film festival of independent cinema from around the world. Sri Aurobindo Center for Arts and Communication will serve as the venue for the second edition. The festival, slated to take place from the 14th to 18th November 2013, will feature a section of features and short-features, an experimental film selection, student films and independent film classics shown in retrospect. Accompanying these will be panel discussions, video workshops, lectures, post-film discussions and opportunities for the cineaste to purchase film literature, film criticism magazines, posters and other such items at the venue.
For details scroll below, or click on ‘The Machine Age’ tab to your left.
TRAFFIC / 1971 / JACQES TATI / 5 PM
In Trafic, Hulot is a bumbling automobile designer who works for Altra, a Paris auto plant. He, along with a truckdriver and a publicity agent (Maria Kimberly), takes a new camper-car (designed by Hulot) to an auto show in Amsterdam. On the way there, they encounter various obstacles on the road. Some of the obstacles that Hulot and his companions encounter are getting impounded byDutch customs guards, a car accident (meticulously choreographed by the filmmakers), and an inefficient mechanic. – Wikipedia
HUMAIN, TROP HUMAIN / 1973 / LOUIS MALLE / 5 PM
A documentary study of the automotive industry, focusing on the manufacturing process at a Citroen factory. - NewWaveFilm
RED DESERT / 1964 / MICHELANGELO ANTONIONI / 5 PM
Michelangelo Antonioni’s panoramas of contemporary alienation were decade-defining artistic events, and Red Desert, his first color film, is perhaps his most epochal. This provocative look at the spiritual desolation of the technological age – about a disaffected woman, brilliantly portrayed by Antonioni muse Monica Vitti, wandering through a bleak industrial landscape beset by power plants and environmental toxins, and tentatively flirting with her husband’s coworker, played by Richard Harris – continues to keep viewers spellbound. With one startling, painterly composition after another, Red Desert creates a nearly apocalyptic image of its time, and confirms Antonioni as cinema’s preeminent poet of the modern age. -Janus Films
BLUE COLLAR / 1978 / Paul Schrader / 5 PM
A trio of Detroit auto workers, two black—Zeke Brown (Pryor) and Smokey James (Kotto)—and one white—Jerry Bartowski (Keitel) are fed up with mistreatment at the hands of both management and union brass. Coupled with financial hardships on each man’s end, the trio hatch a plan to rob a safe at union headquarters. – Wikipedia