Although abolished by the Indian constitution in 1950, the caste system is still at large in the country, and was even more so in 1962, when “Shankar’s Fairies” takes place. Irfana Majumdar creates a narrative that comments on inequality, by implementing a rather personal approach to the movie. The script is based on the childhood memories of her mother Nita Kumar, who is the writer, producer and production designer on the film; and Majumdar’s husband Gaurav Saini serves as associate director and casting director and also plays the police officer. Furthermore, the production is self-financed by the family, while the house the story takes place was Majumdar’s grandparents’ house
“Shankar’s Fairies” is screening at Indian Film Festival of Los Angeles
Shankar, a village man of many skills, is the indispensable butler in the household of a senior police officer, whose rank and caste has brought to the top...
“Shankar’s Fairies” is screening at Indian Film Festival of Los Angeles
Shankar, a village man of many skills, is the indispensable butler in the household of a senior police officer, whose rank and caste has brought to the top...
- 4/16/2022
- by Panos Kotzathanasis
- AsianMoviePulse
Although abolished by the Indian constitution in 1950, the caste system is still at large in the country, and was even more so in 1962, when “Shankar’s Fairies” takes place. Irfana Majumdar creates a narrative that comments on inequality, by implementing a rather personal approach to the movie. The script is based on the childhood memories of her mother Nita Kumar, who is the writer, producer and production designer on the film; and Majumdar’s husband Gaurav Saini serves as associate director and casting director and also plays the police officer. Furthermore, the production is self-financed by the family, while the house the story takes place was Majumdar’s grandparents’ house
“Shankar’s Fairies” is screening in Locarno Film Festival
Shankar, a village man of many skills, is the indispensable butler in the household of a senior police officer, whose rank and caste has brought to the top of the “food chain”, along with his wife,...
“Shankar’s Fairies” is screening in Locarno Film Festival
Shankar, a village man of many skills, is the indispensable butler in the household of a senior police officer, whose rank and caste has brought to the top of the “food chain”, along with his wife,...
- 8/28/2021
- by Panos Kotzathanasis
- AsianMoviePulse
Film Bazaar, South Asia’s largest co-production market, has revealed 21 eclectic projects from several countries and in a welter of languages, for its 2021 online edition.
The selected filmmakers will pitch their projects virtually to a curated audience of Indian and international producers, distributors, festival programmers, financiers and sales agents at an open pitch session. This year, Film Bazaar has also collaborated with the French Embassy in India which will be sponsoring the French Institute Award for one market project.
As is the usual case, the projects are a mix of festival favorites and debutants.
From India, Berlinale title “Eeb Allay Ooo!” editor Tanushree Das and Rotterdam title “Nasir” cinematographer Saumyananda Sahi make their directorial debuts with Bengali-language “Baksho Bondi” (aka “How Long Is Tomorrow?”), produced by Naren Chandavarkar (Rotterdam Fipresci winner “The Bangle Seller”); Tamil-language “Bommainayagi” (aka “Queen Doll”) by debutant Shanawaz Nizamudeen, produced by Pa. Ranjith, director of Rajinikanth...
The selected filmmakers will pitch their projects virtually to a curated audience of Indian and international producers, distributors, festival programmers, financiers and sales agents at an open pitch session. This year, Film Bazaar has also collaborated with the French Embassy in India which will be sponsoring the French Institute Award for one market project.
As is the usual case, the projects are a mix of festival favorites and debutants.
From India, Berlinale title “Eeb Allay Ooo!” editor Tanushree Das and Rotterdam title “Nasir” cinematographer Saumyananda Sahi make their directorial debuts with Bengali-language “Baksho Bondi” (aka “How Long Is Tomorrow?”), produced by Naren Chandavarkar (Rotterdam Fipresci winner “The Bangle Seller”); Tamil-language “Bommainayagi” (aka “Queen Doll”) by debutant Shanawaz Nizamudeen, produced by Pa. Ranjith, director of Rajinikanth...
- 12/22/2020
- by Naman Ramachandran
- Variety Film + TV
Line-up includes new projects from Onir, Anjali Menon, Shyam Bora and Haobam Paban Kumar.
Film Bazaar, organised by India’s National Film Development Corp (Nfdc), has announced the 21 projects selected for the Co-production Market (Cpm) of its 2020 edition, which will take place online next month after being postponed from its usual November slot.
The line-up includes projects in 17 South Asian languages originating in India, Bangladesh, Nepal and Sri Lanka, as well as co-productions with Canada, China, Netherlands and France.
International collaborations include Onir’s We Are, co-produced by India’s Anticlock Films and Canada’s Fae Pictures; India-Netherlands collaboration Dengue,...
Film Bazaar, organised by India’s National Film Development Corp (Nfdc), has announced the 21 projects selected for the Co-production Market (Cpm) of its 2020 edition, which will take place online next month after being postponed from its usual November slot.
The line-up includes projects in 17 South Asian languages originating in India, Bangladesh, Nepal and Sri Lanka, as well as co-productions with Canada, China, Netherlands and France.
International collaborations include Onir’s We Are, co-produced by India’s Anticlock Films and Canada’s Fae Pictures; India-Netherlands collaboration Dengue,...
- 12/21/2020
- by Liz Shackleton
- ScreenDaily
After its premiere at this year’s Berlinale, the Indian social drama “Eeb Allay Ooo!” by Prateek Vats was screened in the program of the We Are One film festival. The movie was presented by the Mumbai Film Festival.
The film addresses topics such as guest workers and family affiliation and gives an interesting insight into Indian customs, professional hierarchies and the country’s legal system.
Anjani moves to New Delhi to live with his sister to support her and earn money. But finding a job turns out to be rather difficult and so he is happy when his brother-in-law gets him a job as a civil servant. But this is more exhausting than expected. Monkeys have made themselves comfortable in the city. They are regarded as half gods and must not be hurt. But around the government building they are not wanted. That’s why there are the monkey expellers.
The film addresses topics such as guest workers and family affiliation and gives an interesting insight into Indian customs, professional hierarchies and the country’s legal system.
Anjani moves to New Delhi to live with his sister to support her and earn money. But finding a job turns out to be rather difficult and so he is happy when his brother-in-law gets him a job as a civil servant. But this is more exhausting than expected. Monkeys have made themselves comfortable in the city. They are regarded as half gods and must not be hurt. But around the government building they are not wanted. That’s why there are the monkey expellers.
- 6/10/2020
- by Teresa Vena
- AsianMoviePulse
It’s a truism that satire is the sharpest way of critiquing society’s problems. Make an audience laugh as well as think, and you’ve hit your mark. The trick is knowing how deep to dig while finding that perfect balance of sly humor with unforced, sharp-eyed commentary.
Prateek Vats’ unpretentious debut “Eeb Allay Ooo!” largely gets the equation right, using the amusing antics of a guy hired to shoo away New Delhi’s pesky monkeys to address the capital’s toxic power dynamics. It could however have gone a bit further by using boisterous scenes showing National Day celebrations not just as a soft-pedaled push against the Modi government’s polarizing nationalist rhetoric but a more pointed jab at the ruling party’s poisonous propaganda. Instead, Shubham’s generally praiseworthy script errs on the side of caution, focusing on the protagonist’s personal exasperation and wrapping it up with an ambiguous final scene.
Prateek Vats’ unpretentious debut “Eeb Allay Ooo!” largely gets the equation right, using the amusing antics of a guy hired to shoo away New Delhi’s pesky monkeys to address the capital’s toxic power dynamics. It could however have gone a bit further by using boisterous scenes showing National Day celebrations not just as a soft-pedaled push against the Modi government’s polarizing nationalist rhetoric but a more pointed jab at the ruling party’s poisonous propaganda. Instead, Shubham’s generally praiseworthy script errs on the side of caution, focusing on the protagonist’s personal exasperation and wrapping it up with an ambiguous final scene.
- 5/30/2020
- by Jay Weissberg
- Variety Film + TV
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