India holds the record for producing thousands of films every year. As we all we are aware that Indian cinema is not only Hindi cinema, rather it consists of many regional industries which include Bollywood or Hindi film industry, Tamil, Telugu, Kannada, Malayalam, Bhojpuri, Marathi, Punjabi, Assamese, Bengali and many more. Every single film critic, film website, blogs and magazines has discussed and wrote many articles, reviews, and critical analysis about the popular films made in 2018 across the nation like include Tumbbad, Raazi, Stree, Andhadhun, Rangasthalam, U Turn, Mahanti, 96, Vada Chennai, Ratsasan, , Sudani From Nigeria, Sexy Durga, and many more.
However, there are films which did great in international film festivals but failed to get the attention of Indians as they got limited screens when they released. But somewhere these films carved a niche for themselves, and they went through hundreds of film festivals across the globe, won numerous awards, and were appreciated, lauded and stand out of the crowd for their storyline, screenplay, presentation, bold portrayal, mesmerising cinematography, acting, music, sound effects, editing, universal approach towards story and overall execution.
Here will be discussing about the films which are as important as the parallel cinema was in the 1970s. These films are film institute in themselves who teach so many aspects of film making to the aspiring filmmakers. Hence, these films should not be missed by film students.
Ee. Ma. Yau.
Rarely do we come across movies that affect us on so many levels and Ee Ma You is one of them. It’s a Malayalam satirical drama which revolves around the death and funeral of a father Mesthiri which is brilliantly portrayed by Kainakiri Thankaraj and how his son reacts to it. Everything that can go wrong goes wrong and the ensuing mess is what that drives the film ahead. Such a simple story but handled remarkably well by the Director Lijo Jose Pellissery whose last film was the magnificent “Angamaly Diaries”. It is a hard-hitting, realistic, poignant and touching tale of a son who loves his dad and would do anything to fulfil his last wish.
The movie takes you through a day in the life of Eesi son of Vavachan who has promised his father a colourful post-death procession and a funeral that suits a king. The rest of the story tells us whether he will be able to keep his promise or not. The portrayal of the ugly truths throughout the film will keep making you feel restless as a social being in every bit and parts of this most sensible cinematic piece. The handheld camera following the character was a monopoly of the horror genre which is thrashed away by this duo of director and cinematographer. It has completely explored the human nature of taking advantage of someone’s death to manipulate others and assert one’s own righteousness giving less priority to morality.
The script of the movie is not one that tries to please the audience but is intended to tell us a story the way it exactly needs to be told. The cinematography of the film handled by Shyju Khalid immerses the viewer into the world Vavachan Eesi and the rest of the characters go through without feeling the presence of the camera. Director of the film – Lijo Jose Pellissery is one of the finest filmmakers of our time and the way he has managed the film to be what it is – is magnificent and appreciating. He is a blessing for cinema lovers who crave never before tried themes and style. The last half an hour is an absolute delight with the heavy rain adding to the magic.
Each and every character on screen has done a remarkable job with their respective roles. Chemban Vinod Jose gives an electrifying performance and this for sure is his career best role till date and Vinayakan as member Ayyappan has come out of his mass and thug image and played a role where he will make you cry and laugh at the same time. I had a fabulous time watching this and would recommend it to everyone. This film proves that death brings the real face and truth out in the field.
To Let
This film is a gem of Indian cinema which gives you the feel and rumination of the Satyajit Ray’s and Guru Dutt’s cinematic excellence and spiritualistic feel. It’s a deeply moving portrayal of social drama whose approach is universal and connects to everybody. A couple is stuck between the humiliation of house owner and finding a dream home, an aspirant writer dreaming of his 1st film venture and a better future for their child. The camera narrates the condition of the house through a tiny bird, closet and rays when sunlight penetrates through the window on and further keeps the narration flawlessly
Character development at its best and each scene is very relevant to the story. The actors have done a phenomenal job especially the lead female character. The story itself is fresh and never been heard of in the past. Very natural and simple shots make this movie stand out from the rest of the mass entertainment movies. The sound of radio and television, the conversation of people and auto on the road compensate for the music.
India produces more than thousands of films every year. The genres and budgets of the films range from lacs to crores of rupees but there remain very few films that mark an identity in International film festivals. This film rounded hundreds of film festivals across the globe. It won awards in almost all the festivals it went through and was highly appreciated by the cine lovers. This is one of the few movies that will stay with you long after you have left the cinemas. The film was completed in 25 days and the cast are all newcomers. Chezhiyan is a director to look for.
Academy Awards winning Iranian filmmaker, Asghar Farhadi lauded the movie in an interview as it is a pure film. I was moved by this subject and the acting was very good. Indian veteran filmmaker Adoor Gopalakrishnan praised this movie as very very sensible, beautiful movie. Sri Lankan filmmaker Prasanna Vithanage also praised this movie as a sincere movie with genuine concern.
Village Rockstar
This film is an ode to the undying spirit of people living in villages which is touched by nature. They think themselves to be privileged who dream and yearn for the same. The deliberate minimal use of dialogues and stunning cinematography makes the viewers, slowly encapsulated by the winds and purity of a village setting. The fact that Rima Das has spent her formative years in her village is quite evident in the film. No other movie maker could have reached into the deepest corner of the soul of the place and present us something as visceral as Rima herself.
She used close-ups to show the innocence and the landscape beautifully. Her camera moves with the wind almost as these kids make their way through rains and roads. The film is a simple coming of age story which reminded the audiences of Indian Parallel cinema. A self-taught filmmaker, Rima took the reins of each department of her movie herself. Her story is as fascinating as the young Dhunu in her film. Screenwriter, Director, producer, cinematographer, editor, production-designer and all in all a film department in herself – Rima Das won India’s top Film Award for this Magnum Opus.
Apart from India’s Best Film National Award, she also won the Best Editor Award. Her film’s lead actress and her niece Bhanita Das won India’s best Child Actor Award, and her Audiographer-cousin Mallika Das wins India’s Best Audiography Award. It was selected for India’s official entry to 91st Academy Awards. She shot the film on DSLR camera and edited her unplanned shots taken over two years without comprehensive screenplay by following YouTube tutorials. She is the New Hope to Guerrilla Filmmakers spread across the globe. Her success proves that money or team support is not necessary if you have the talent and vision to be a filmmaker. All you need to make a film is a camera.
