It’s celebration time for the winner of the 67th National Film Awards (for best films from the year of 2019) organised by Directorate of Film Festivals, which comes under the Ministry of Information and Broadcasting.
The Best Actor honour has been shared by Manoj Bajpayee for Bhonsle (Hindi) and Dhanush for Asuran (Tamil).
Chhichhore, starring Sushant Singh Rajput who died by suicide last year, has been adjudged as Best Hindi Film. Kangana Ranaut bagged her fourth National Award – Best Actress for the movies Manikarnika and Panga.
Malayalam movie Marakkar Arabikadalinte Simham won Best Film and also the award for Best Special Effects.
Vijay Sethupathi won Best Supporting Actor for Tamil film Super Deluxe and Pallavi Joshi was awarded Best Supporting Actress for The Tashkent Files.
Sanjay Puran Singh Chauhan won Best Director for Bahattar Hoorain. Sikkim has been declared the most film-friendly state. Jallikattu, the Oscar entry from India this year, won Best Cinematography.
Gumnaami, based on the life of Netaji Subhash Bose, won Best Bengali Film and Best Adapted Screenplay.
The National Awards, given out by the Directorate of Film Festivals every year, were not announced last year because of the Covid-19 pandemic.
Here goes the full list of winners:
Best Feature Film: Marakkar Arabikadalinte Simham (Malayalam)
Best Direction: Bahattar Hoorain
Best Actress: Kangana Ranaut (Manikarnika, Panga)
Best Actor: Manoj Bajpayee for Bhonsle and Dhanush for Asuran
Best Supporting Actress: The Tashkent Files, Pallavi Joshi
Best Supporting Actor: Super Deluxe, Vijaya Sethupathi
Best Children Film: Kastoori (Hindi)
Indira Gandhi Award for Best Debut Film of Director: Helen (Malayalam)
Special Mention: Biryani (Malayalam), Jonaki Porua (Assamese), Lata Bhagwan Kare (Marathi), Picasso (Marathi)
Best Tulu Film: Pingara
Best Paniya Film: Kenjira
Best Mishing Film: Anu Ruwad
Best Khasi Film: Lewduh
Best Haryanvi Film: Chhoriyan Chhoron Se Kam Nahi Hoti
Best Chattisgarhi Film: Bhulan The Maze
Best Telugu Film: Jersey
Best Tamil Film: Asuran Best Punjabi Film: Rab Da Radio 2
Best Odiya Film: Sala Budhar Badla and Kalira Atita
Best Manipuri Film: Eigi Kona
Best Malayalam Film: Kalla Nottam
Best Marathi Film: Bardo
Best Konkani Film: Kaajro
Best Kannada Film: Akshi
Best Hindi Film: Chhichhore
Best Bengali Film: Gumnaami
Best Assamese Film: Ronuwa- Who Never Surrender
Best Stunt: Avane Srimannarayana (Kannada)
Best Choreography: Maharshi (Telugu)
Best Special Effects: Marakkar Arabikadalinte Simham (Malayalam)
Special Jury Award: Oththa Seruppu Size-7 (Tamil)
Best Lyrics: Kolaambi (Malayalam)
Best Music Direction Songs: Viswasam (Tamil)
Music Direction: Jyeshthoputro
Best Make-Up Artist: Helen
Best Production Design: Anandi Gopal
Best Editing: Jersey (Telugu)
Best Audiography: lewduh (Khasi)
Best Screenplay Original Screenplay: Jyeshthoputri
Best Adapted Screenplay: Gumnaami
Best Dialogue Writer: The Tashkent Files (Hindi)
Best Cinematography: Jallikattu (Malayalam)
Best Female Playback Singer: Bardo (Marathi)
Best Male PLayback Singer: Kesri, Teri Mitti (Hindi)
Best Film on Environment Conservation: Water Burial
Most Film-Friendly State: Sikkim
Best Book on Cinema: A Gandhian Affair: India’s Curious Portrayal of Love in Cinema by Sanjay Suri
Special mention- Cinema Paharana Manus written by Ashok Rane and Kannada Cinema: Jagathika Cinema Vikasa-Prerane Prabhava written by PR Ramadasa Naidu)
Best Film Critic: Sohini Chattopadhyay
NON FEATURE FILM CATEGORY
Best Narration: Wild Karnataka, Sir David Attenborough
Best Editing: Shut Up Sona, Arjun Gourisaria
Best Audiography: Radha (Musical), Allwin Rego and Sanjay Maurya
Best On-Location Sound Recordist: Rahas (Hindi), Saptarshi Sarkar
Best Cinematography: Sonsi, Savita Singh
Best Direction: Knock Knock Knock (English/Bengali), Sudhanshu Saria
Best Film on Family Values: Oru Paathiraa Swapnam Pole (Malayalam)
Best Short Fiction Film: Custody (Hindi/English)
Special Jury Award: Small Scale Societies (English)
Best Animation Film: Radha (Musical)
Best Investigative Film: Jakkal
Best Exploration Film: Wild Karnataka (English)
Best Education Film: Apples and Oranges (English)
Best Film on Social Issues: Holy Rights (Hindi) and Ladli (Hindi)
Best Environment Film: The Stork Saviours (Hindi)
Best Promotional Film: The Shower (Hindi)
Best Art and Culture Film: Shrikshetra-Ru-Sahijata (Odia)
Best Biographical Film: Elephants Do Remember (English)
Best Ethnographic Film: Charan-Atva The Essence of Being a Nomad (Gujarati)
Best Debut Non-Feature Film of a Director: Khisa (Marathi)
Best Non-Feature Film: An Engineered Dream (Hindi)
Jallikattu – Festival of the Untameable Spirit. (Documentary)
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Jallikattu is a popular bull taming sport that takes place in Madurai, Tamil Nadu during the festival of Pongal. A centuries old practice, it dates back to the Sangam era when it was known as ‘Eru thazuval’ or embracing the bull. The term Jallikattu comes from the Tamil phrase ‘salli kaasu’ which means coins and kattu which means a package that is tied to the bulls horns as prize money. There are variations in the sport but the crux of it requires fighters to pounce on a running bull and try and hold onto its hump for a specific period of time or distance without falling off or getting hurt. The bull will try everything in its power to disengage the rider, shaking them off, stamping them, rearing up and at times even goring fallen participants. It takes one who is fleet footed with quick reflexes and has boundless courage to attempt this sport. Exemplified as a sign of bravery, this historic sport has breathed new life into the survival of the rare breed of Pulikulam bulls and is world over regarded as one of the most dangerous, thrilling and adrenaline pumping festivals ever. Watch as brave fighters come forward to take their chances while taming the beast. Join them as they celebrate the festival of the untameable spirit.
Driven by a fresh burst of energy, a new breed of independent filmmakers are delivering films based on their own individualistic visions, erasing the gap between the socially meaningful and the commercially viable Indian cinema – By Saibal Chatterjee
Mediocrity is mainstream Indian cinema’s comfort zone. It has always been. But today, being middling is more than just an old habit for filmmakers seeking easy ways to achieve runaway commercial success. It has become a necessity. Low-grade, star-driven commercial cinema and its purveyors are being gleefully embraced by both the masses and the official agencies charged with the promotion of film culture in the country.
It is hardly surprising, therefore, that an unabashedly misogynistic film like Arjun Reddy hits the box-office bull’s eye. Its Hindi remake, Kabir Singh, made by the same director with a different actor, does even better.
Another easy-to-sell category of cinema has emerged, especially in Mumbai, over the past few years: adulatory biopics and puff jobs. These are films that are either aggressively jingoistic (Uri: The Surgical Strike, RAW: Romeo Akbar Walter) or are unabashed extended, fictionalized public service adverts (Toilet: Ek Prem Katha). Taking the line of least resistance pays instant dividends. These films not only make pots of money but also often go on to win national awards at the cost of essays that are leagues ahead in cinematic terms.
But for a new breed of independent filmmakers who are consciously pulling away from the crowd and following their own individualistic visions to deliver films aimed at erasing the gap between the socially meaningful and the commercially viable, Indian cinema today would have worn the looks of a hopeless wasteland.
Mercifully, even filmmakers working in the mainstream space – Pa. Ranjith and Vetrimaaran in Chennai and Anurag Kashyap and Anubhav Sinha in Mumbai – do not shy away from hitting political hot-buttons and questioning gender presumptions in stories couched in popular narrative formulations.
When Vetrimaaran makes Vada Chennai, he ensures that it isn’t any ordinary gangster flick. He infuses it with a social resonance that communicates truths about a city and society in ways that are beyond the reach of less clued-in filmmakers. Pretty much the same is true of Pa. Ranjith. His two Rajinikanth vehicles, Kabali and Kaala, have a strong caste struggle sub-text delivered in a style that never strays into the preachy and boring. Ranjith also recently produced Mari Selvaraj’s Pariyerum Perumal, the story of a boy from an oppressed caste struggling to ward of continuing discrimination.
Ranjith is now in the midst of directing his first Hindi-language film – a drama based on the life of tribal freedom fighter Birsa Munda. The choice of hero is a natural progression for a filmmaker whose cinema has probed the place of the deprived and dispossessed in a society where power flows from religious identity and caste allegiance.
Important elements dovetailed into the plot of Anurag Kashyap’s boxing drama Mukkabaaz also reflects the political consciousness of the maker. The ills of the caste system have also been laid bare in stark detail in Anubhav Sinha’s Article 15. The film is a worthy follow-up to Sinha’s Mulk, which addressed the issue of Islamophobia head-on. We might argue that Indian films still haven’t gone far enough to call out patriarchy and the Brahmanical order. But the very fact that some films are making an attempt, no matter a feeble, is itself a sign of the changing times.
A fresh burst of energy is driving independent filmmakers not just in Tamil Nadu and Kerala but also in Mumbai. The primary space in debutant Madhu C. Narayanan’s Malayalam film Kumbalangi Nights, scripted by Syam Puskaran, is the home of four brothers who have no woman in their lives. The siblings are all flawed, scalded individuals until women enter their lives and make them see life and love in a different light. The film is an examination of masculinity that turns the entire notion of patriarchy on its head.
Thiagarajan Kumararaja’s daringly innovative multi-plot drama Super Deluxe is a film that throws caution to the wind and yet comes with such astounding formal precision that one cannot but watch in awe and applaud. Kumararaja throws four sub-plots into a giant, constantly whirring grinder and emerges with a film so fascinating and so wondrously inventive that one is caught by surprise at every turn.
Super Deluxe subverts our expectations at every turn. A couple is thrown into turmoil following the death of the woman’s ex-boyfriend in her bed. A father of a boy returns to his family after a seven-year absence in the guise of a transwoman. A schoolboy who bunks school with his friends to watch a pornographic film flies into a rage on discovering that his mother is an adult movie actress. Four friends get into terrible tangle with the underworld in an attempt to wriggle out of a minor jam.
The fast-paced, almost breathless film delivers a dazzling kaleidoscope of an urban landscape where every single day is as strange and disconcerting as the previous one. Super Deluxe is testimony to what younger Tamil filmmakers are capable of as storytellers and craftsmen.
The new Malayalam cinema, too, is going through a wonderfully fecund phase. Three films made by Kerala directors are in two of world’s major festivals this year. Sanal Kumar Sasidharan’s Chola (Shape of Water) premieres at the Venice Film Festival while Lijo Jose Pellissery’s Jallikattu and Getu Mohandas’s Moothon are in the Toronto International Film Festival. Sasidharan’s S Durga won the Hivos Tiger Award at the International Film Festival of Rotterdam a couple of years ago, the first Indian film to bag the prize.
Lijo is, of course, also a name to reckon with. He is in the midst of a urple patch., Before Jallikattu, he delivered two absolutely stunning films – Angamaly Diaries and Ee. Ma. Yau – both of which prove his grasp over the medium and his phenomenal ability to handle a multiplicity of actors within single uninterrupted sequences.
The first world that spring to mind when watching a Lijo film is dynamism, the kind that can be extremely infectious. It would be no exaggeration if we were to suggest that he, along with Sasidharan, are the ones who are propelling the resurgence of Malayalam cinema on the global stage. We expect more surprises as filmmakers from Kerala reclaim the place they had in international festivals in the 1980s and a part of the 1990s.
India’s ‘fabulous four’ in the 44th Toronto International Film Festival represent exciting and distinct cinematic voices. These films, three of which will be world premiering in TIFF, have compelling stories, employing methods that stem from unique sensibilities. At one end is the story of a real-life urban couple learning life lessons from a terminally ill but spirited daughter (Shonali Bose’s The Sky is Pink) and at the other a tale of a buffalo that escapes from its butcher-owner and sparks a frenzy in a small town in Kerala (Lijo Jose Pellissery’s Jallikattu), The other two Indian films present divergent takes on Mumbai: Gitanjali Rao’s animated feature Bombay Rose and Geetu Mohandas’ gritty yet life-affirming drama Moothon (The Elder One).
It is a strong year in TIFF for Indian female directors. Three of the titles in this quartet have been directed by women. That apart, Priyanka Chopra, who toplines the cast of The Sky is Pink, is one of the four Indian ambassadors of TIFF’s ‘Share Her Journey’ campaign, which is aimed at promoting gender parity in the movie industry both in front of and behind the camera. The other three are filmmakers Mira Nair, Deepa Mehta and Rima Das. Das’s last two films (Village Rockstars and Bulbul Can Sing) premiered in TIFF. She will be attending the festival this year too, to take part in the campaign launched in 2017, the year she debuted here.
THE SKY IS PINK by Shonali Bose
Cast: Priyanka Chopra Jonas, Farhan Akhtar, Zaira Wasim, Rohit Saraf Producer(s): Ronnie Screwvala, Siddharth Roy Kapur
Shonali Bose’s The Sky is Pink, which also features Farhan Akhtar and Zaira Wasim in stellar roles, is part of the festival’s Gala Presentations. Bose is a TIFF veteran. Each of the three films that she has helmed has screened in North America’s premier festival.The Sky is Pink is scheduled for release on October 11, a month after its world premiere in TIFF on September 13.
The poignant film portrays 25 years in the life of a married couple whose relationship is depicted from the perspective of their just-deceased teenage daughter. It is inspired by the tragic true story of Aisha Chaudhary, who was diagnosed with severe immune-deficiency and had to battle through every day of her life for survival. But even as she counted her days, she never stopped living in the moment. She became a motivational speaker and wrote a book that was published a day before her death.
Bose’s first two films, Amu (2005) and Margarita with a Straw (2015), both critically acclaimed cinematic essays drawn from real life, also played in Toronto.
India | 2019 | Hindi WORLD PREMIERE 134 minutes
Director | Shonali Bose
Cinematography | Kartik Vijay, Nick Cooke, Andrew Litt, Andre Menezes, Ravi Varman
Editing | Manas Mittal
Executive Producers | Nilesh Maniyar, Deepak Gawade, John Penotti, Michael Hogan, Robert Friedland
Production Companies | Roy Kapur Films, RSVP, Ivanhoe Pictures, Purple Pebble Pictures
At the other end of the India’s TIFF spectrum this year is Gitanjali Rao, a globally celebrated animation filmmaker who has carved her own niche in a nation where animated films are not only rare but are also usually seen as entertainment meant only for children. She employs the medium to tell complex, layered stories about her city and its people, especially those who need to retreat into dream worlds to escape the soul-destroying urban grind that they must inevitably undergo on a day-to-day basis.
Rao’s first feature, Bombay Rose, which has made TIFF’s Contemporary World Cinema cut, arrives in Toronto from Venice, where it was the opening film of the Critics Week. The film looks at street-dwellers who live on the margins of the megapolis. “I have always wanted to tell stories,” Rao says in her director’s note, “about the unsung heroes who live and love in Mumbai, never become success stories, yet their struggle for survival makes heroes out of them.” Bombay Rose is composed of frame-by-frame painted animation, a painstaking process that took all of two years.
Bombay Rose is only the second Indian animation film to screen in TIFF. In 2103, Shilpa Ranade’s Goopy Gawaiya Bagha Bajaiya made it to the festival programme.
India, United Kingdom, Qatar, France, 2019 | Hindi NORTH AMERICAN PREMIERE 93 minutes
Production Companies | Cinestaan Film Company, Les Films d’Ici
Animation Studio | Paperboat
Production Designer | Rupali Gatti
Screenplay | Gitanjali Rao
Sound | P.M. Satheesh
MOOTHON by Geetu Mohandas
Cast: Nivin Pauly, Sobhita Dhulipala, Shashank Arora Producer(s): Anurag Kashyap, Vinod Kumar, Ajay G. Rai, Alan McAlex
Mumbai also plays a key role in actress-turned-filmmaker Geetu Mohandas’ Malayalam-Hindi bilingual film, Moothon (The Elder One), which revolves around a 14-year-old Lakshadweep island boy, Mulla, who travels at great personal risk to the bustling city to look for his big brother, Akbar, armed only with a phone number. The film follows the parallel arcs of the two siblings while it focuses on the hope and despair that they have to grapple with in a city where life can be rough when the guards are down.
Although Mohandas is a TIFF first-timer, her maiden feature, Liar’s Dice (2013), had premiered in the Sundance Film Festival and was India’s official nomination for the Oscars.
Moothon, which has Nivin Pauly, Sobhita Dhulipala and Shashank Arora in key onscreen roles, is co-produced by Anurag Kashyap, who has also penned the Hindi dialogues of the film. For Kashyap, TIFF is a bit of an annual ritual. His last two films, Mukkabaaz and Manmarziyaan, were both in the festival.
India | 2019 Malayalam, Hindi WORLD PREMIERE 110 minutes
Director | Geetu Mohandas
Cinematography | Rajeev Ravi
Editing | Ajithkumar B., Kiran Das
Production Companies | JAR Pictures, Mini Studio
Production Designer | Abid T. P.
Screenplay | Geetu Mohandas
Sound | Kunal Sharma
Original Score | Sagar Desai
JALLIKATTU by Lijo Jose Pellissery
Cast: Antony Varghese, Vinayakan, Sabumon Abdusamad Producer(s): O. Thomas Panicker
Lijo Jose Pellissery, one of the most exciting flag-bearers of the new Malayalam cinema, is in this year’s lineup with Jallikattu, based on a short story, Maoist, written by S. Hareesh. The maker of Angamaly Diaries and Ee.Ma.Yau focusses on a butcher’s buffalo that flees from his owner’s clutches on the eve of its planned slaughter. As the people of the town in Kerala’s Idukki district set out to recapture the animal, dormant animosities bubble to the surface and unleash unsettling violence. Like his previous two film, Lijo’s new outing blends heady energy with an unwavering sense of formal cinematic proportion.
Jallikattu – the title is derived from the ancient Tamil bull-running tradition that has sparked much debate in recent times – allows for a deep dive into the heart of a politically volatile state that, pretty much like the people in the story that the film narrates – are increasingly being divided along destructively emotive lines.
Shonali Bose’ The Sky is Pink, Gettu Mohandas’s Moothon (The Elder One), Lijo Jose Pellissery’s Jallikattu and Gitanjali Rao’s Bombay Rose will be premiered at the 44th Toronto Internaitonal Film Festival beginning September 5. Toronto is the only international festival which has picked maximum number of Indian films in the official selections.
At TIFF, the Indian spotlight this year will be on well-known directors — Shonali Bose, Geetu Mohandas, Gitanjali Rao, Lijo Jose Pellissery — sprearheading the new wave of Indian cinema in the global markets.
A bold new voice in Malayalam cinema, Lijo Jose Pellissery’s Jallikattu presents a portrait of a remote village in his hometown where a buffalo escapes and causes a frenzy of ecstatic violence.
Indian writer-director Geetu Mohandas presents an unsparing yet inspiring vision of Mumbai through the story of two small-town siblings, each with their own reason for escaping to the big city, in this urgent drama pondering gender, sexuality, violence, and tolerance. Moothon is jointly produced by Anurag Kashyap.
Animated feature film Bombay Rose written, designed, and directed by Gitanjali Rao follows multiple characters, each connected by a single red rose, as they navigate life and love in the sprawling Indian metropolis. Her debut film Bombay Rose is the story of a flower seller who has to make the choice between protecting her family or allowing herself to fall in love. This touching story is set on the streets of Mumbai and moves from real life to fantasy, accompanied by much-loved Bollywood songs from the cinema halls. Painted frame by frame, for which Gitanjali is famed, Bombay Rose is a chronicle of the people who migrate from small towns, seeking minimal life in the maximum city.
The Sky is Pink is directed by Shonali Bose and is based on the story of motivatioal speaker Aisha Chaudhary who had been diagnosed with pulmonary fibrosis.
“What I love about India is that, it is the world’s most film passionate country in the world. You can talk to anyone in this country and everyone has got an opinion about films. This is not the case anywhere in the world. This is the cultural norm,” stated Cameron Bailiey, Co-Head of Toronto International Film Festival to Pickle during his Mumbai trip last year. Single handedly, Cameron Bailey has managed to get over 50 Indian filmmakers to showcase their work in global markets after screening their films in Toronto.
Shonali Bose’s Margarita With A Straw was selected in Toronto in 2014. The film Margarita With A Straw was a bittersweet drama about a woman with cerebral palsy. Shonali Bose has ploughed a lonely furrow as a filmmaker. Her debut feature, Amu, released in 2005, homed in on individuals affected by the 1984 anti-Sikhriots. She co-wrote Bedabrata Pain’s critically acclaimed Chittagong (2012), a dramatization of a significant chapter in India’s freedom struggle. For Margarita With A Straw, Bose cast Kalki Koechlin in a role that called for absolute commitment of time and energy. For both the director and the lead actress, the film has been unqualified artistic triumph. Her National Award winning film Amu was also screened at Toronto.
A successful Malayalam actress and director, Geetu Mohandas is best known across India for the independently funded Liar’s Dice, which had its world premiere at the Sundance Film Festival in 2013. The title, which also went to the International Film Festival Rotterdam, was India’s Official Entry for the Best Foreign Language Film for the 87th Academy Awards in 2014.
Director Lijo Jose Pellissery, whose fifth and sixth films (Angamaly Diaries, 2017 and Ee Ma Yau, 2018) have catapulted him into national prominence, is easily one of the most exciting filmmakers to have emerged in India in the course of the current decade. His films have a distinct style and pace and are underpinned by a keen sense of time and place. He is the latest discovery from India in the global film festival circuit.
Gitanjali Rao’s four independently produced animated shorts, Blue, Orange, Printed Rainbow, Chai and TrueLoveStory have been to over 150 International film festivals and received more than 30 awards.
The Ministry of Information & Broadcasting, Government of India, in collaboration with Confederation of Indian Industry (CII) is taking a delegation to the Toronto International Film Festival beginning September 5, 2019 in Toronto, Canada. The film festival will also see an India Pavilion which will provide a platform to popularize Indian cinema in the overseas market and facilitate new business opportunities.
The Indian Media & Entertainment industry delegation to TIFF 2019 comprises of filmmakers, directors and producers, service providers among others.
This year four Indian films are being screened at TIFF, including The Sky is Pink directed by Shonali Bose (Galas 2019), Moothon (The Elder One) directed by Geetu Mohandas (Special Presentations 2019), Jallikattu directed by Lijo Jose Pellissery (Contemporary World Cinema) and Bombay Rose directed by Gitanjali Rao (Contemporary World Cinema).
The objective behind the participation is to promote Indian films across linguistic cultural and regional diversity so as to forge an increasing number of international partnerships in the realms of distribution, production, filming in India, script development and technology, thereby accelerating the growth of film sector in India.
The Indian delegation, through various interactions, will promote ease of shooting films in India through Film Facilitation Office (FFO) that facilitates Single Window Clearance for film-makers and provides the platform for ‘film tourism’ in India. The delegation will showcase India as a post-production hub, promote collaborations for films with international production houses and encourage Indian Panorama Films for sales and syndication.
India has its advantage at every filmmaking process. It has a strong domestic film industry across the country. More than anything else, India has access to world class technicians and equipment; amazing choice of locations to shoot any type of film. Skilled professionals are available across the country. India is gearing up for the 50th edition of International Film Festival Of India, Goa from 20 November to 28 November 2019.
The market potential for Indian content in Toronto is huge because of the strong presence of the Indian diaspora and great interest in Indian Cinema. India-Canada are in a co-production treaty and the delegation will explore opportunities to work on co-producing films with Canada.
With 1800 feature films produced in the country, more than 900 television channels, 600 million internet users, 4000 million smart phone users, India’s vibrant media and entertainment (M&E) industry provides attractive growth opportunities for global corporations.