FRIDAY

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A daring film maker who delve deep into the topic he choose, Patwardhan’s documentaries like Ram ke Naam, Pitra, Putra aur Dharmayudha, A Narmada Di-ary, War and Peace, Jai Bhim Comrade, are examples of his in-vestigative urge and relentlessly questioning mind.

Most of his works faced the wrath of governments in power as Patwardhan’s movies always raised disturbing questions tar-geting political parties and their interests. Patwardhan’s alter-native narratives on issues like Babri Masjid demolition, roots of patriarchy in India, Narma-da Bachao Andolan etc have brought into perspective, the

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The 11th edition of International Documentary and Short Film Festival of Kerala (IDSFFK) will begin from 20th July, 2018. The opening ceremo-ny will be inaugurated by the honour-able Chief Minister of Kerala Pinarayi Vijayan at 6 pm. Cultural affairs min-ister A.K Balan will preside over the function. The venerable documentary director Rakesh Sharma will be the

ground realities of such is-sues.

A strong advocate of secu-larism, Patwardhan has always been an intimidating voice for fundamentalist forces and na-tionalists. If his works Raam Ke Naam, Pitra, Putra aur Dharmayudha revealed the hidden and ugly side of Hin-dutva politics, War and Peace exposed the political realities behind India and Pakistan’s nuclear weapon tests.

A winner of almost every prestigious award that is there for documentary film mak-ing, Patwardhan is among the most respected and relevant film makers of our times.

to be honoured with Lifetime Achievement Award

Anand Patwardhan

chief guest. Anand Patwardhan has been cho-sen for the Life time achievement award, which carries a cash prize of ₹2 lakh and a sculpture. Human Flow, a documentary directed by Chi-nese conceptual artist Ai Weiwei, that focuses on the large-scale migrations and refugee crisis across the globe, will be the opening film.

The five-day international fest will screen about 206 productions, including long and short documentaries, short fictions, campus

films, animation and music videos. To be held at Kairali, Sree and Nila Theatres under the Kerala State Film Development Corporation, there will be 64 productions in the competition section in addition to 13 music videos and nine animation films. A special package produced by the Public Service Broadcasting Trust titled ‘Engag-ing with sexuality’ will also be screened. Five films of feminist historian and cultur-al critic Lata Mani will be screened.

Short Reels Starts Rolling: IDSFFK 2018 begins...

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Chinese film maker Ai Weiwei’s re-alistic work The Human Flow will be the debut film in the 11th IDSFFK. A tale which mixes up the horrendous realities of the human world with the sobbering predicament of the despi-cable human lives, Ai Weiwei’s work apprehends the staggering scale of ref-ugee crisis and its profoundly personal human impacts. The way it delves into the multiple narratives of 23 world na-tions and 65 million refugees offers us

a gruesome picture of the displaced people. It is definitely an eye-opener for many to question the very exis-tence of human lives and its varied vicissitudes under unfavourable cir-cumstances.

The Chinese director has al-ready established his political stands through an array of documentaries which includes Disturbing the Peace, So Sorry, The Squad Storm, Beijing 2004 and The Beautiful life.

Festival Director Kamal, Chairman, KSCA l Artistic Director Bina Paul, Vice Chairperson, KSCA l Executive Director and Chief Editor Mahesh Panju, Secretary, KSCA l Deputy Director (Festival) H Shaji l Deputy Director (Programmes) N.P Sajeesh l Executive Editor Rajesh Chirappadu l Associate Editor Nowfal N l Sub Editors Anil Kumar KS, Goutham V S, Rahul S, Ramees Rajaji l Photography Vincent Peter l Design and Layout Sivaprasad B l Illustration Sudheer PY l Team Chandramohan, Jayakumar, Resmi Anil l Printed at Akshara Offset, Thiruvananthapuraml Printed and Published by Mahesh Panju, Secretary, KSCA on behalf of Department of Cultural Affairs, Govt. of Kerala l Email bulletindaily2018@gmail.com

When There Is Nowhere To Go, Nowhere Is Home

OPENING F ILM

In the history of documentary films in India there are two decisive moments: first, the Emergency and second, the Advent of the Digital. If the first moment that happened in the mid-1970s and was marked by disillusionment with the Nehruvian nation project, was an encounter with the State, the next one in the 1990s was

The 11th edition of IDSFFK will pay tribute to recently passed away filmmaker Indira Zen by screening her highly regarded work ‘Ca-tharsis’ in the Homage section of this year’s festival.

Indira, originally from Tirur,Malappur-am, was settled in Thiruvananthapuram in order to focus on her passion. After com-pleting her studies, Indira assisted acclaimed filmmakers like PA Backer, Surasu, Ali Akbar and Bina Paul in her career. She also assisted in AA Aziz’s movie ‘Athyunathangalil Kooda-ram Panithavar’ and Lenin Rajendran’s ‘Ku-lam’. Before materialising her most recognised short film ‘Catharsis’, Indira directed scores of short films for CDIT (Centre of Develoment of Imaging Technology).

As a woman filmmaker, Indira had her own vision of feminism and freedom. She

hitherto unknown and unexplored areas of human life and social experience were made visible and audible.

But this proliferation of images, image-making practices and platforms, while empowering independent filmmakers and counter-aesthetic practices, is also an omnipotent and omnipresent tool in the hands of the State in terms of surveillance. Documentary filmmaking in India today is challenged by all these forces and conflicts created by the digital excess and exercise, use and abuse of images, narratives and information. It has to develop counter-points to the ‘hegemony of consensus’ being created by the State and the mainstream Media discourses, in terms of viewpoints, counter arguments, and alternative visions. It has to talk for and to civil society, by exploring new and exciting modes of expression and aesthetic styles. In the political realm, the challenges are even more daunting; there is a huge machinery at work steamrolling the plurality in/of our cultures; creating and sacralising fake histories, usurping and crushing age long traditions to create and celebrate monoliths.

In India today, documentaries function as the real opposition – in its political visions, media discourses, social interventions, and aesthetic explorations.

The Era of the DocumentaryCS Venkiteswaran

a technological encounter. The first moment triggered the documentary mode to speak for civil society and talk back to the State, bringing to the fore crucial questions from the margins; issues like human rights, indigenous people, environment, and gender justice were investigated, documented, taken up and brought to the public sphere for the first time. The impact of the second moment, was felt in terms of the technological facility, access and ease that it provided to image-makers; with the availability and affordability of small, digital cameras and production equipments, filmmaking was ‘democratised’ and ‘decentralised’. Everyone turned into filmmakers, and

Indira Zen, A Passionate Perfectionist

HOMAGE

Rakesh Sharma, the unflinching warrior of ‘Truth First’

Master Class Woman

One of the most discussed documentary filmmaker of

contemporary times, the relevance of Rakesh Shar-ma’s works have increased

in the present political dis-course on Indian democracy.

His acclaimed doc-umentaries Final

Solution and Aftershocks-

The Rough Guide to

Democ-r a c y ,

e x -

Sameera Jain is an eminent filmmaker and editor who has successfully completed more than 30 years in the industry. She emerged as an iconic editor bagging several national and international acclamations. The works of Sameera Jain are intrepid and often, provoking. According to her, a fiction film is a lie made to look real whereas a documentary endeavours to portray the “real” real. Her works are mirror reality with high aesthetic quality.

Her creations are her challenges to the injustice and intolerance prevalent in the society. Her films give the spectator a feel that

The Kerala State Chala-chitra Academy is happy to welcome the cinephiles to the 11th edition of the IDSFKK which is truly the key annual platform for the practitioners of documentary and short

film makers in the country.Over the years, the IDSFFK has been able to reflect the drastic changes undergone in the making of documentaries and short films. The Festival is trying to uphold the spirit of renaissance values of the State which lends an ear to the diverse voices and viewpoints.The delegates and filmmakers are welcome to be part of the platform for dialogue that is called IDSFFK. Kamal Chairman, Kerala State Chalachitra Academy & Festival Director, IDSFFK

In the present age of rap-id digitalisation, many young filmmakers have succeeded in making proper use of the im-proved accessibility to tools to make cinema on low budgets.

The 11th IDSFFK proudly presents 206 films that maintain a very high quality artistically, thematically and technologically, to our delegates. From close to a thousand entries, the selected films undoubtedly herald the arrival of quite a number of talented filmmakers, who can be seen as promising signs to the glorious future of cinema. To all the delegates who will be attending the festival this year, I wish an enriching experience.

Mahesh PanjuSecretary, Kerala State Chalachitra Academy & Executive Director, IDSFFK

In an age of visual bom-bardment, fake news and media empowerment the creative political docu-mentary and the short film have a special place. These become the last bastion for personal com-

munication. Unfortunately, opportunities for viewing and sharing such work are shrinking. IDSFFK works to provide a platform which facilitates such interactions. It sees a collection of film essays, experimental ventures and works of political expression. The festival offers a small window to the world and finally the opportunity to meet, argue, dialogue and share.Welcome to a space of dialogue with trust.Bina PaulVice Chairperson, Kerala State Chalachitra Academy & Artistic Director, IDSFFK

amines government’s involvement be-hind the 2002 genocide of Muslims in Gujarat and the dubious collaboration of state government with corporate giants.

Owing to the interrogative and grass root level investigations on the real mo-tives behind Gujarat riots and govern-ment’s interest in adopting two quake-af-fected villages, Rakesh Sharma’s works have always been under the censuring eyes of fundamentalist groups and gov-ernments. Set against the backdrop of Gujarat riots, Rakesh’s Final Solution graphically documents the changing face of right-wing politics in India through a detailed study of the state orchestrated

Gujarat riots in 2002, targeting Mus-lims.

His another movie, Aftershocks is about the transformation of the Welfare State into an ally of the Cor-porates. It examines the motives and sense of justice of the state behind the acquisition of two quake-affect-ed villages for lignite mining and power generation.

A man who loves to make films on debatable topics, Rakesh’s deter-mination to circulate his documen-taries independently amidst govern-ment bans, is also a lesson for any independent filmmaker.

always resisted the discrimination from a male dominated film indus-try. ‘Catharsis’, a product of Indira’s grit and determination, is also an inspiration for any aspiring wom-an filmmaker.

A director who believed in per-fection,Indira’s only independent work ‘Catharsis’, based on the po-litical murders in Kannur is one of the finest visual expression on the issue. Through ‘Catharsis’, Indi-ra persuaded the viewers to think about the futility of murders in the name of party polititcs by bringing in the perspectives of the hunter and the hunted, under one roof.

The filmmaker succumbed to death after a long struggle with lung related ailments in Thiruva-nanthapuram on 9th of June, 2018.

A woman who once breathed and dreamt about cinema, will be once again remembered and dis-cussed with the screening of ‘Ca-tharsis’ at IDSFFK 2018.

MESSAGE

SAMEERA JAIN

it was shot without a camera. Mera Apna Sheher gave her a world-wide recognition and that film explores the sense of belonging or ownership to the city. Her Delhi based documentaries also include the one on Sagira Begum – an ancestral zari (golden thread) embroiderer, and the one on indigenous childbirth practices and practitioners. She has proved her editing transcendence in the works Pairon Talle, The Lightning Testimonies, NatakJaari Hai, Nisshabd, A Night of Prophecy, Karvaan, Moksha and When Hamlet Went to Mizoram.

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