Do Dooni Chaar directed by Habib Faisal, starring Rishi Kapoor and Neetu Singh will open the 11th New York Indian Film Festival (Nyiff). The festival will take place from May 4-8, 2011 in Manhattan. A total of 25 feature films will be screened in the festival which is presented by The Indo-American Arts Council (Iaac).
Rituparno Ghosh’s Nauka Dubi will be presented as the Closing Night selection, while Aparna Sen’s Iti Mrinalini (An Unfinished Letter) will screen as the Centerpiece selection.
Film personalities like Rishi Kapoor, Neetu Singh, Habib Faisal, Rituparno Ghosh, and Aparna Sen will be present at the festival.
The complete lineup:
The Bengali Detective (Documentary), directed by Phil Cox
Bhopali (Documentary), directed by Max Carlson
Daayen Ya Baayen, directed by Bela Negi
A Decent Arrangement, directed by Sarovar Banka
Do Dooni Chaar, directed by Habib Faisal
Geeta in Paradise, directed by Benny Mathews
Geeta in Paradise, directed...
Rituparno Ghosh’s Nauka Dubi will be presented as the Closing Night selection, while Aparna Sen’s Iti Mrinalini (An Unfinished Letter) will screen as the Centerpiece selection.
Film personalities like Rishi Kapoor, Neetu Singh, Habib Faisal, Rituparno Ghosh, and Aparna Sen will be present at the festival.
The complete lineup:
The Bengali Detective (Documentary), directed by Phil Cox
Bhopali (Documentary), directed by Max Carlson
Daayen Ya Baayen, directed by Bela Negi
A Decent Arrangement, directed by Sarovar Banka
Do Dooni Chaar, directed by Habib Faisal
Geeta in Paradise, directed by Benny Mathews
Geeta in Paradise, directed...
- 4/17/2011
- by NewsDesk
- DearCinema.com
Music Masala Films
The number of films by Indian-Americans has increased tremendously in recent years, which is a good thing. And certainly, the international success of "Monsoon Wedding" and "Bend It Like Beckham" will encourage the trend to continue. Yet nearly all are bad films, which is a not a good thing. "Where's the Party, Yaar?" a film from a trio of Houston-based filmmakers -- writer-director Benny Mathews (yes, he's Indian) and co-writers Sunil Thakkar and Soham Mehta -- is one of these bad films. While it opened Sept. 5 in regular multiplexes in seven U.S. urban markets, it has no chance of crossing over to non-Indian audiences.
The problem is twofold. Indian-American filmmakers such as these three need to figure out who their audience is. If that audience is moviegoers who grew up on Hindi films that feature wet saris, exaggerated caricatures and young people dancing around trees, then they are bound to draw a handful of NRIs (Nonresident Indians) in North America. But if filmmakers wish to attract non-Indians, as "Bend It Like Beckham" has, then they must tell their stories within the traditions of Western cinema, not Bollywood.
The second problem is that nearly every Indian-American movie has virtually the same story. How many times will even NRIs want to trudge through the all-too-familiar terrain of Indian immigrants trying to assimilate into American culture or witness yet again the cultural clash between a traditionalist parent and an American-born "desi?"
"Party" assembles all the usual stereotypes in one movie: the FOB (Fresh Off the Boat) rube, who can't even get down an airport escalator without falling on his face; the American-born confused desi, who is unsure to which culture he belongs; the wannabe hipster who wouldn't know cool if he stepped on it; the FOB-hating womanizer; an Indian-American princess; a wacky astrologer; and an intellectual college student, who makes documentaries about -- you guessed it -- cultural confusions within the local Indian community.
Mathews goes over the top with nervous cinematography and editing, which keeps the movie jumping around without it ever landing anywhere. For the most part, the acting is shrill and cartoonish. Indeed, most of the actors appear to be, in the finest desi filmmaking tradition, from the filmmakers' close circle of friends and family.
The number of films by Indian-Americans has increased tremendously in recent years, which is a good thing. And certainly, the international success of "Monsoon Wedding" and "Bend It Like Beckham" will encourage the trend to continue. Yet nearly all are bad films, which is a not a good thing. "Where's the Party, Yaar?" a film from a trio of Houston-based filmmakers -- writer-director Benny Mathews (yes, he's Indian) and co-writers Sunil Thakkar and Soham Mehta -- is one of these bad films. While it opened Sept. 5 in regular multiplexes in seven U.S. urban markets, it has no chance of crossing over to non-Indian audiences.
The problem is twofold. Indian-American filmmakers such as these three need to figure out who their audience is. If that audience is moviegoers who grew up on Hindi films that feature wet saris, exaggerated caricatures and young people dancing around trees, then they are bound to draw a handful of NRIs (Nonresident Indians) in North America. But if filmmakers wish to attract non-Indians, as "Bend It Like Beckham" has, then they must tell their stories within the traditions of Western cinema, not Bollywood.
The second problem is that nearly every Indian-American movie has virtually the same story. How many times will even NRIs want to trudge through the all-too-familiar terrain of Indian immigrants trying to assimilate into American culture or witness yet again the cultural clash between a traditionalist parent and an American-born "desi?"
"Party" assembles all the usual stereotypes in one movie: the FOB (Fresh Off the Boat) rube, who can't even get down an airport escalator without falling on his face; the American-born confused desi, who is unsure to which culture he belongs; the wannabe hipster who wouldn't know cool if he stepped on it; the FOB-hating womanizer; an Indian-American princess; a wacky astrologer; and an intellectual college student, who makes documentaries about -- you guessed it -- cultural confusions within the local Indian community.
Mathews goes over the top with nervous cinematography and editing, which keeps the movie jumping around without it ever landing anywhere. For the most part, the acting is shrill and cartoonish. Indeed, most of the actors appear to be, in the finest desi filmmaking tradition, from the filmmakers' close circle of friends and family.
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