First poster of Sanjay Leela Bhansali and Ketan Mehta’s Jai Somnath unveiled on Maha Shivratri

Sanjay Leela Bhansali and Ketan Mehta, two of Indian cinema’s most influential creative forces, have come together to tell an important tale from India’s spiritual history. Bhansali has announced an upcoming seminal tale of Indian civilization titled Jai Somnath, in collaboration with acclaimed director Ketan Mehta. This marks an interesting partnership between two of the most powerful creative voices in Indian cinema. Jai Somnath traces back to 1025–1026 CE, when Mahmud of Ghazni attacked and plundered the Somnath Temple in Gujarat, a defining chapter in Indian history. This year marks 1000 years of the Ghazni attack and the destruction of the temple, and its subsequent resurrection. Somnath symbolizes the indestructible spirit of India and the glory of Indian civilization. Given the deep emotional and cultural significance of this chapter, the film aims to strike a strong chord with audiences as it revisits an important moment from India’s past.   View this post on Instagram ...

Grace review – monumentally odd father-daughter odyssey via mobile cinema

Travelling across Russia in mostly silence, Ilya Povolotsky’s debut feature has a strange confidence in its own insistent dispiritedness

With long journeys in a red camper van, long unbroken shots of shattered Caucasian landscapes, and very long silences between its alienated father and daughter, Ilya Povolotsky’s debut feature has a strange confidence in its own monumental dispiritedness. “I want to know that you have a plan,” says the teenager. “And that we won’t get stuck somewhere outside Khabarovsk with a chicken and a sad librarian woman.” This being a Russian art film, you wouldn’t bet against it.

The two unnamed characters, played by Maria Lukyanova and Gela Chitava, are making their way across the country for unspecified reasons, other than her desire to see the sea. They run a small mobile cinema out of their van for wan residents of purgatorial steppe towns and flog snacks and porn by night at sketchy truck stops for the hauliers who aren’t with sex workers. The father has transient liaisons of his own, adding an accusatory edge to his daughter’s faraway gaze, frequently fixed on nothing. Things aren’t looking up when they reach the sea; local people are scooping dead fish off the foreshore. “Fish plague,” says a police officer. “You’d better leave now.”

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