New Delhi, April 6 (Ians) Indian Super League (Isl) club Mumbai City Fc on Thursday announced an all-Indian 24-member squad for the upcoming 2023 Super Cup.
Head coach Des Buckingham has named Rahul Bheke as captain ahead of the tournament. Bheke will lead a squad that comprises a strong domestic unit that has formed the core of Mumbai City in recent years.
The Islanders’ squad for the Super Cup will feature a fine balance of experienced heads and youthful potential.
Rahul Bheke, Bipin Singh, Mehtab Singh, Lallianzuala Chhangte and Phurba Lachenpa were recently called up to the Indian national team off the back of a stunning season in the Indian Super League, winning the League Shield, and will be eager to carry their form into the Super Cup.
The Islanders’ squad also boasts of burgeoning talents like Apuia Ralte, Vignesh Dakshinamurthy, Vikram Partap Singh and Sanjeev Stalin who, despite their young age,...
Head coach Des Buckingham has named Rahul Bheke as captain ahead of the tournament. Bheke will lead a squad that comprises a strong domestic unit that has formed the core of Mumbai City in recent years.
The Islanders’ squad for the Super Cup will feature a fine balance of experienced heads and youthful potential.
Rahul Bheke, Bipin Singh, Mehtab Singh, Lallianzuala Chhangte and Phurba Lachenpa were recently called up to the Indian national team off the back of a stunning season in the Indian Super League, winning the League Shield, and will be eager to carry their form into the Super Cup.
The Islanders’ squad also boasts of burgeoning talents like Apuia Ralte, Vignesh Dakshinamurthy, Vikram Partap Singh and Sanjeev Stalin who, despite their young age,...
- 4/6/2023
- by Agency News Desk
- GlamSham
Windhoek (Namibia), April 5 (Ians) Canada and UAE notching up impressive wins against Png and Jersey respectively on the final day of the Icc Men’s Cricket World Cup Qualifier Play-off here on Wednesday.
Canada defeated Papua New Guinea (Png) by 90 runs while the United Arab Emirates beat Jersey by 66 runs.
Batting first, Canada got vital contributions from their top-order batters. Aaron Johnson stroked a 48-ball 53, while Pargat Singh continued his brilliant form in the tournament with a score of 66.
But the middle and the lower-middle order failed to contribute much, with the highest score being 28 by Saad Bin Zafar. This meant that Png were able to contain Canada to a relatively low total of 218/8 in their 50 overs. John Kariko was the pick of the bowlers for Png, registering figures of 4-45.
During the chase, Png never got going, with many of their batters failing to convert starts into big scores.
Canada defeated Papua New Guinea (Png) by 90 runs while the United Arab Emirates beat Jersey by 66 runs.
Batting first, Canada got vital contributions from their top-order batters. Aaron Johnson stroked a 48-ball 53, while Pargat Singh continued his brilliant form in the tournament with a score of 66.
But the middle and the lower-middle order failed to contribute much, with the highest score being 28 by Saad Bin Zafar. This meant that Png were able to contain Canada to a relatively low total of 218/8 in their 50 overs. John Kariko was the pick of the bowlers for Png, registering figures of 4-45.
During the chase, Png never got going, with many of their batters failing to convert starts into big scores.
- 4/5/2023
- by Agency News Desk
- GlamSham
Dukhtar, Margarita With A Straw and Bhopal: A Prayer for Rain among outstanding schedule of independent South Asian films to be screened as part of 17th annual Laff.
Organizers have announced the full roster of films and special events for this year’s London Asian Film Festival (Laff) – Europe’s oldest showcase for South Asian cinema.
The Festival takes place across London from 19 March to 28 March and features a string of exciting and acclaimed independent feature films, master classes, special screenings, debates and the Festival’s celebrated short films competition.
This year’s Festival highlights include critically acclaimed films such as Margarita With A Straw, Bhopal – A Prayer for Rain, Dukhtar, Rang Rasiya, The World Before Her and Haider.
The 17th edition London Asian Film Festival is once again organized by Tongues on Fire, which has built an unparalleled reputation for promoting independent cinema as well as providing a showcase for female filmmakers.
Organizers have announced the full roster of films and special events for this year’s London Asian Film Festival (Laff) – Europe’s oldest showcase for South Asian cinema.
The Festival takes place across London from 19 March to 28 March and features a string of exciting and acclaimed independent feature films, master classes, special screenings, debates and the Festival’s celebrated short films competition.
This year’s Festival highlights include critically acclaimed films such as Margarita With A Straw, Bhopal – A Prayer for Rain, Dukhtar, Rang Rasiya, The World Before Her and Haider.
The 17th edition London Asian Film Festival is once again organized by Tongues on Fire, which has built an unparalleled reputation for promoting independent cinema as well as providing a showcase for female filmmakers.
- 3/18/2015
- by Press Releases
- Bollyspice
Dominated by the commercial trends of the region, which mostly align with India’s outlandish Bollywood, the Pakistani film industry rarely offers productions that tackle its society’s specific challenges from a progressive perspective. Under this system, creating a film that questions the ancient patriarchal structures and the way they hinder women’s ability to flourish as individuals was even a more unlikely reality. To highlight the torment that is brought upon women forced into a life of servitude and silence, director Afia Nathaniel, a Pakistani women herself who knows this world and its negative repercussions, focused her efforts on a singular quest to end the cycle. Her defiant debut feature “Dukhtar” or “Daughter” follows a mother and her young daughter traveling through rural landscapes to escape the predetermined future chosen by the men that claim to own them.
Accustomed to the only life she’s ever known, Allah Rakhi (Samiya Mumtaz), a young mother and wife living in a small mountain village, tries to channel all her unfilled hopes into her playful ten-year-old daughter Zainab (Saleha Aref). Still unaware of how her voice will be terribly silenced once she becomes someone’s property against her will, cheeky Zainab enjoys spending time with her mother and teaching her English. Her distant father Daulat Khan (Asif Khan) is much more concerned with finding a solution for an ongoing tribal dispute. Taking advantage of Daulat Khan’s desperation, Tor Gul (Abdullah Jan), the rival leader, demands Zainab’s hand in marriage in order to end the bloodshed. The girl’s father agrees. Jeopardizing her own life, Allah Rakhi runs off with her daughter without a plan. Her only objective is to safeguard her innocence and to offer her the one gift she was never given: a choice.
As expected, both Tor Gul’s and Daulat Khan’s henchmen are sent to find them at any cost. Their mission is to bring Zainab back alive regardless of what happens to her mother. Along the way Allah Rakhi befriends Sohail (Mohib Mirza), a kindhearted man who decides helping her get her daughter to safety is the right thing to do. Through such nerve-racking journey Allah Rakhi discovers what it means to be treated as whole and meaningful person and not just a silent spectator at the mercy of another’s wishes. Assertively, Nathaniel decides not to take the romantic path and reduce her protagonist into a woman falling into another man’s arms. Instead, she concentrates her efforts in exploring he broken bond between mothers and daughters due to an ideology in which their contributions are not appreciated and alienation is the deadliest weapon.
Allah Rakhi has not been allowed to see her mother ever since she got married, and the same was to be expected for Zainab’s life. Cut off from their own worlds women are reduced to be perpetual strangers in the homes of the men that don’t known beyond their role as a commodity. As Allah Rakhi, Samiya Mumtaz gives a topnotch performance that shines for its restraint. She is a woman driven by her love for her daughter, which allows her to confront the inherent fear implanted in her. Her work is a standout and crucial piece in “Dukhtar.” It’s evident that the film centers on the lack of freedom that women experience not only in Pakistan but in numerous traditional societies, yet, Afia Nathaniel manages to showcase her homeland’s beauty and makes it clear that this is not a story about gender confrontation, but about an securing and equal opportunity to find fulfillment.
With its evocative musical score and by cinematographer Armughan Hassan's gorgeous vistas that adorned the chaotic road, “Dukhtar” is a small gem forged out the director’s desire to craft a story which, tough small in scope, could connect with Pakistani people on a more profound level than the shiny musical tales in mainstream local cinema ever could. This is in its own right a groundbreaking film unlike anything done by a director from this particular part of the world. It's art and social change united in harmony via soulful storytelling. Nathaniel’s vision captures the heart of this broken bond that must be rebuilt, for mothers, for daughters, for all.
Accustomed to the only life she’s ever known, Allah Rakhi (Samiya Mumtaz), a young mother and wife living in a small mountain village, tries to channel all her unfilled hopes into her playful ten-year-old daughter Zainab (Saleha Aref). Still unaware of how her voice will be terribly silenced once she becomes someone’s property against her will, cheeky Zainab enjoys spending time with her mother and teaching her English. Her distant father Daulat Khan (Asif Khan) is much more concerned with finding a solution for an ongoing tribal dispute. Taking advantage of Daulat Khan’s desperation, Tor Gul (Abdullah Jan), the rival leader, demands Zainab’s hand in marriage in order to end the bloodshed. The girl’s father agrees. Jeopardizing her own life, Allah Rakhi runs off with her daughter without a plan. Her only objective is to safeguard her innocence and to offer her the one gift she was never given: a choice.
As expected, both Tor Gul’s and Daulat Khan’s henchmen are sent to find them at any cost. Their mission is to bring Zainab back alive regardless of what happens to her mother. Along the way Allah Rakhi befriends Sohail (Mohib Mirza), a kindhearted man who decides helping her get her daughter to safety is the right thing to do. Through such nerve-racking journey Allah Rakhi discovers what it means to be treated as whole and meaningful person and not just a silent spectator at the mercy of another’s wishes. Assertively, Nathaniel decides not to take the romantic path and reduce her protagonist into a woman falling into another man’s arms. Instead, she concentrates her efforts in exploring he broken bond between mothers and daughters due to an ideology in which their contributions are not appreciated and alienation is the deadliest weapon.
Allah Rakhi has not been allowed to see her mother ever since she got married, and the same was to be expected for Zainab’s life. Cut off from their own worlds women are reduced to be perpetual strangers in the homes of the men that don’t known beyond their role as a commodity. As Allah Rakhi, Samiya Mumtaz gives a topnotch performance that shines for its restraint. She is a woman driven by her love for her daughter, which allows her to confront the inherent fear implanted in her. Her work is a standout and crucial piece in “Dukhtar.” It’s evident that the film centers on the lack of freedom that women experience not only in Pakistan but in numerous traditional societies, yet, Afia Nathaniel manages to showcase her homeland’s beauty and makes it clear that this is not a story about gender confrontation, but about an securing and equal opportunity to find fulfillment.
With its evocative musical score and by cinematographer Armughan Hassan's gorgeous vistas that adorned the chaotic road, “Dukhtar” is a small gem forged out the director’s desire to craft a story which, tough small in scope, could connect with Pakistani people on a more profound level than the shiny musical tales in mainstream local cinema ever could. This is in its own right a groundbreaking film unlike anything done by a director from this particular part of the world. It's art and social change united in harmony via soulful storytelling. Nathaniel’s vision captures the heart of this broken bond that must be rebuilt, for mothers, for daughters, for all.
- 12/4/2014
- by Carlos Aguilar
- Sydney's Buzz
Not Without My Dukhtar: Nathaniel’s Debut a Sobering Drama
On paper, the premise of director Afia Nathaniel’s debut, Dukhtar (Daughter), sounds like it has the potential to be emotionally exhausting. And while the situation it’s depicting is certainly unsettling and upsetting, Nathaniel chooses to place the film in a more hopeful dwelling, something that works for and against the film. As concerns a woman striking out against her culture’s repression of women in Pakistan, a community and country not often depicted in film, Nathaniel recalls Haifaa Al-Mansour’s 2012 film Wadjda, about a young girl in Saudi Arabia. While we’re not as emotionally engaged with the women at the center of this tale as in Al-Mansour’s more light-treading film, the specific locale is what lends this otherwise slight tale some weight, crafted quite similarly to American women-in-trouble pictures showcasing women fleeing from abusive spouses.
On paper, the premise of director Afia Nathaniel’s debut, Dukhtar (Daughter), sounds like it has the potential to be emotionally exhausting. And while the situation it’s depicting is certainly unsettling and upsetting, Nathaniel chooses to place the film in a more hopeful dwelling, something that works for and against the film. As concerns a woman striking out against her culture’s repression of women in Pakistan, a community and country not often depicted in film, Nathaniel recalls Haifaa Al-Mansour’s 2012 film Wadjda, about a young girl in Saudi Arabia. While we’re not as emotionally engaged with the women at the center of this tale as in Al-Mansour’s more light-treading film, the specific locale is what lends this otherwise slight tale some weight, crafted quite similarly to American women-in-trouble pictures showcasing women fleeing from abusive spouses.
- 9/6/2014
- by Nicholas Bell
- IONCINEMA.com
To celebrate the Indian film industry's centenary year, here are 10 essential movies – from a silent film about the life of the Buddha to a violent gangster epic
Prem Sanyas/The Light of Asia (Franz Osten, 1925)
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Among the few silent films that remain are three Indo-German co-productions that predate the arrival of the German technicians and directors who worked in the Bombay Talkies studio in the 1930s. The Light of Asia was shot in India but edited and processed in Germany and intertitled in English. The script was adapted from Sir Edwin Arnold's epic poem The Light of Asia (1861) while the opening credits proclaim it was "Shown by Royal Command at Windsor Castle, April 27 1926" and that it benefited greatly from help offered by the Maharaja of Jaipur. The film shows westerners touring India (Mumbai, Delhi, Varanasi) who come to Bodh Gaya, the site of Gautam Buddha's Enlightenment.
Prem Sanyas/The Light of Asia (Franz Osten, 1925)
Reading this on mobile? Click here to view
Among the few silent films that remain are three Indo-German co-productions that predate the arrival of the German technicians and directors who worked in the Bombay Talkies studio in the 1930s. The Light of Asia was shot in India but edited and processed in Germany and intertitled in English. The script was adapted from Sir Edwin Arnold's epic poem The Light of Asia (1861) while the opening credits proclaim it was "Shown by Royal Command at Windsor Castle, April 27 1926" and that it benefited greatly from help offered by the Maharaja of Jaipur. The film shows westerners touring India (Mumbai, Delhi, Varanasi) who come to Bodh Gaya, the site of Gautam Buddha's Enlightenment.
- 7/25/2013
- The Guardian - Film News
Going over this limited list, it is apparent that as much as Pakistani cinema is scoffed off as a rag tag bunch of sub-intelligent films, the aesthetic and critical liability can be turned over its head inviting informed insights
Genre films are best exemplified by Westerns, Sci Fi, Musicals, Action/Adventures and any number of such labels that are designed to lump films together that share certain similarities. Such commonalities may be tonal (Film Noir, Horror), conceptual (Sci Fi, Fantasy) or textual (Biopic, Period Drama, War) in nature.
Genres enable the viewers to form certain expectations from films that work as an identifying device. For instance, with the knowledge of watching a Film Noir, the viewer anticipates the basic set of conventions and motifs that operates as a comforting and familiar visual as well as a cerebral experience.
Having stocked up a sizeable movie watching experience in Pakistan, some of...
Genre films are best exemplified by Westerns, Sci Fi, Musicals, Action/Adventures and any number of such labels that are designed to lump films together that share certain similarities. Such commonalities may be tonal (Film Noir, Horror), conceptual (Sci Fi, Fantasy) or textual (Biopic, Period Drama, War) in nature.
Genres enable the viewers to form certain expectations from films that work as an identifying device. For instance, with the knowledge of watching a Film Noir, the viewer anticipates the basic set of conventions and motifs that operates as a comforting and familiar visual as well as a cerebral experience.
Having stocked up a sizeable movie watching experience in Pakistan, some of...
- 9/27/2011
- by Zia Ahmad
- DearCinema.com
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