Vishal Bhardwaj and Shaunak Sen join new film fund initiative supporting independent cinema

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What are the vital ingredients an aspiring filmmaker needs when they have a story to tell but no outlet? Beyond a script, they need financial stability, production expertise, and industry access. Addressing this gap, Humans of Cinema and Safarnaama Pictures have launched a landmark feature film co-production fund of Rs 40,00,000 designed to back an emerging filmmaker with a distinct voice and a clear vision. In a significant boost to the independent ecosystem, Academy Award-nominated filmmaker Shaunak Sen (All That Breathes) and globally acclaimed auteur Vishal Bhardwaj have joined the initiative as mentors. Sen is also attached to the selected project as an Executive Producer. The high-profile jury for the fund includes actor Imran Khan, filmmaker Arati Kadav (Cargo, Mrs), producer Aman Mann (All That Breathes), and renowned author and festival director Aseem Chhabra. Harshit Bansal, Founder of Humans of Cinema, shared that the idea took shape when Nazim Momin of Safarnaama Pictures—...
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An ethereally self-aware comedy genius: the loss of Diane Keaton is devastating | Peter Bradshaw

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America’s sweetheart was so much more than that: an actor of astonishing singularity and freshness who starred in the very best films of the past century

The millpond calm of her face, its beauty, its gentleness, its openness and unworldliness became even more heart stopping when she laughed or cried – and generations of moviegoers felt their own crush on Diane Keaton escalate into something more. She was more than America’s sweetheart: Keaton was the sophisticated, sweet-natured, unaffectedly sensual woman with whom America was unrequitedly in love. Diane Keaton was out of America’s league.

In the golden age of the American New Wave in the 1970s, she was at the centre of that era’s great comedy and tragedy: as Kay, the innocent wife of Al Pacino’s Michael Corleone in Coppola’s The Godfather (1972), she was the aghast, complicit witness to mob toxicity and murder, paralysed with disillusion and fear as she is shut out of her husband’s dealings in his private sanctum – and then, in the next film, like a modern-day Medea, Diane Keaton’s Kay reveals to the icily infuriated Michael the awful truth about her miscarriage.

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