Brisbane, December 1, 2009 (Peter Malone) - Yarwng, (Roots), the award-winning Kokborok film from Tripura in Northeast India was the subject of an emotionally charged discussion at Brisbane’s Regent Theatre during the 18th Brisbane International Film Festival (BIFF) in Australia.
"Yarwng" has a relevance for indigenous people all over the world
Each of the two BIFF screenings of the film - at the Regent Theatre and at the Gallery of Modern Art, were followed by brief interactive sessions with the director of the film, Fr. Joseph Pulinthanath SDB who was invited to the festival as a member of the Interfaith Jury.
A volley of questions was put to the director by the audience that comprised mainly of Australians. The questions ranged from the socio-economic scenario of the people depicted in the film to details of filmmaking in the Kokborok language. The Regent session turned quite dramatic and poignant when one of the viewers broke down with emotion while speaking about the trauma that displaced people undergo. He asked to be excused confessing that seeing the film was an emotionally taxing experience for him.
Among those who attended the screening of the Kokborok film was the Executive Director of the Australia-India Council, Heather Neate. Calling Yarwng “a lovely film” she thanked the director for coming over to Brisbane to tell the story of the displaced people.
The Kokborok film from India formed part of the ‘Colourise BIFF’ indigenous section of the festival along with films from Mexico, New Zealand and Brazil. Christine Peacock, the director of the ‘Colourise BIFF’ category lauded the involvement of the community in the making of Yarwng (Roots) and pointed out its relevance for indigenous people all over the world.
Anne Demy Geroe, the Festival Director of BIFF, called the film from Northeast India, "an attractive example of filmmaking as a communication medium adapted to suit the cultural, social and political needs of society".
The 95-minute film is a fictionalized account of the thousands of indigenous people that were displaced when the Dumbur dam in Tripura was constructed and a hydel project set up there in the late 70s. The film is financed by Signis, Missio and the Salesian society.
Besides Queensland’s premier city Brisbane, other international venues that screened the Kokborok Yarwng (Roots) include Stuttgart, Moscow and New York.
http://www.signis.net/article.php3?id_article=3696
Thursday, January 28, 2010
Vatican Radio: Tripura’s ‘Yarwng’ gets national Film Award
27/01/2010 12.48.17
(January 27, 2010) An acclaimed feature film in local language made by the Salesians of Don Bosco in the northeastern Indian state of Tripura has won a national award in the category of ‘Best Feature Film in languages other than those specified in the Schedule VIII of the Constitution’. The film titled ‘Yarwng’, or ‘roots’ in Kokborok language is among the 56th National Film Awards that was announced by Union Minister for Information and Broadcasting, Ambika Soni, on 23rd January in New Delhi. It is the first time the Northeast Indian state of Tripura wins a national film award. Ever since its release in September 2008, the 95 minute long feature film has been screened at over 40 international film festival venues across the world, including New York, Stuttgart, Moscow, Brisbane, Dhaka and Taiwan. Produced and directed by Salesian priests Joseph Kizhakechennadu and Joseph Pulinthanath, respectively, of Don Bosco Sampari Pictures, the film takes a significant look at the displacement of thousands of indigenous people in Tripura on account of the Gumti Hydel project. The cast of ‘Yarwng’, which New York Times described as a ‘rare glimpse into tribal India’ is made up mostly of indigenous people who are themselves victims of displacement and had no experience whatsoever in acting. The President of India, Pratibha Patil will give away the National Film Awards in March 2010.
http://www.vaticanradio.org/in2/Articolo.asp?c=352410
(January 27, 2010) An acclaimed feature film in local language made by the Salesians of Don Bosco in the northeastern Indian state of Tripura has won a national award in the category of ‘Best Feature Film in languages other than those specified in the Schedule VIII of the Constitution’. The film titled ‘Yarwng’, or ‘roots’ in Kokborok language is among the 56th National Film Awards that was announced by Union Minister for Information and Broadcasting, Ambika Soni, on 23rd January in New Delhi. It is the first time the Northeast Indian state of Tripura wins a national film award. Ever since its release in September 2008, the 95 minute long feature film has been screened at over 40 international film festival venues across the world, including New York, Stuttgart, Moscow, Brisbane, Dhaka and Taiwan. Produced and directed by Salesian priests Joseph Kizhakechennadu and Joseph Pulinthanath, respectively, of Don Bosco Sampari Pictures, the film takes a significant look at the displacement of thousands of indigenous people in Tripura on account of the Gumti Hydel project. The cast of ‘Yarwng’, which New York Times described as a ‘rare glimpse into tribal India’ is made up mostly of indigenous people who are themselves victims of displacement and had no experience whatsoever in acting. The President of India, Pratibha Patil will give away the National Film Awards in March 2010.
http://www.vaticanradio.org/in2/Articolo.asp?c=352410
INDIA - Salesian’s film wins national award
Published Date: January 27, 2010
AGARTALA, India (UCAN) – A feature film directed by Salesian Father Joseph Pulinthanath has won Tripura state’s first national film award.
Federal Minister for Information and Broadcasting Ambika Soni announced the film awards on Jan. 23 in New Delhi.
Father Pulinthanath’s “Yarwng” (roots) in Kokborok language was selected as the best feature film in the category of languages not officially recognized in India.
It is the first national film award for the northeastern state.
Indian President Pratibha Patil will present the awards in March.
Produced by Salesian Father Joseph Kizhakechennadu of Don Bosco Sampari Pictures and directed by Father Pulinthanath, the Tripura film speaks about the displacement of thousands of indigenous people in the state due to the Gumti Hydel hydro-electric project.
Glimpse into tribal India
The cast of “Yarwng,” which the “New York Times” described as a “rare glimpse into tribal India,” is mostly indigenous people who were displaced by the dam project. They had no previous acting experience.
The award has made Kokborok language and its speakers proud, an elated Father Pulinthanath told UCA News.
“Along with everyone else involved in the making of ‘Yarwng,’ I feel happy that we have been able to get for Tripura and its people its first national film award,” he added.
The priest said he hopes to see “more such awards” for the film in future.
Father Pulinthanath says the award would boost not only the nascent film industry in Tripura, but also tribal communities and the Kokborok language.
The film was made with funds from Catholic aid agencies including Signis (Brussels), Missio (Germany) and the Salesian congregation.
Father Pulinthanath released the 95-minute film in September 2008 and since then it has been screened at more than 40 international film festival venues, including New York, Stuttgart, Moscow, Brisbane, Dhaka and Taiwan.
It was the opening film of the Indian Panorama section of the International Film Festival of India 2008, held in Goa.
“Yarwng” also picked up a Special Jury Mention Award at the seventh Third Eye Asian Film Festival held in Mumbai in 2008.
IE08649/1586 January 27, 2010 36 EM-lines (342 words)
AGARTALA, India (UCAN) – A feature film directed by Salesian Father Joseph Pulinthanath has won Tripura state’s first national film award.
Federal Minister for Information and Broadcasting Ambika Soni announced the film awards on Jan. 23 in New Delhi.
Father Pulinthanath’s “Yarwng” (roots) in Kokborok language was selected as the best feature film in the category of languages not officially recognized in India.
It is the first national film award for the northeastern state.
Indian President Pratibha Patil will present the awards in March.
Produced by Salesian Father Joseph Kizhakechennadu of Don Bosco Sampari Pictures and directed by Father Pulinthanath, the Tripura film speaks about the displacement of thousands of indigenous people in the state due to the Gumti Hydel hydro-electric project.
Glimpse into tribal India
The cast of “Yarwng,” which the “New York Times” described as a “rare glimpse into tribal India,” is mostly indigenous people who were displaced by the dam project. They had no previous acting experience.
The award has made Kokborok language and its speakers proud, an elated Father Pulinthanath told UCA News.
“Along with everyone else involved in the making of ‘Yarwng,’ I feel happy that we have been able to get for Tripura and its people its first national film award,” he added.
The priest said he hopes to see “more such awards” for the film in future.
Father Pulinthanath says the award would boost not only the nascent film industry in Tripura, but also tribal communities and the Kokborok language.
The film was made with funds from Catholic aid agencies including Signis (Brussels), Missio (Germany) and the Salesian congregation.
Father Pulinthanath released the 95-minute film in September 2008 and since then it has been screened at more than 40 international film festival venues, including New York, Stuttgart, Moscow, Brisbane, Dhaka and Taiwan.
It was the opening film of the Indian Panorama section of the International Film Festival of India 2008, held in Goa.
“Yarwng” also picked up a Special Jury Mention Award at the seventh Third Eye Asian Film Festival held in Mumbai in 2008.
IE08649/1586 January 27, 2010 36 EM-lines (342 words)
Wednesday, January 27, 2010
Strong Malayali crew in award-winning film
Express News ServiceFirst Published : 24 Jan 2010 10:11:00 AM ISTLast Updated : 24 Jan 2010 01:46:14 PM IST
THIRUVANANTHAPURAM: While busy analysing why Malayalam films missed out on the big awards in the National Film Award category, a group of Malayalis are wondering why they are not being counted - the crew of the Kokborok film `Yarwng’ which won the national honour (award for the best film in each of the language not included in Schedule VIII of the Constitution). In addition to its director Fr Joseph Pulinthanath, `Yarwng’, which means `roots’, has a bunch of Malayalis associated with it - cameraman Kannan, sound recordist Krishna Kumar, associate cameraman Shaji Pattanam, Krishnan Unni who does sound mixing, editor Sasi Menon and Mahesh Narayanan, associate director Sajiv Pazhoor and producer Fr K Joseph.
“It is a big honour. We all are very happy about it,’’ Fr Joseph Pulinthanath, a Malayali priest now settled in Assam. The Kokborok tribe in Tripura has been neglected for long and the film gave a new identity, an unprecedented one, for the tribe and the language. The 60-member crew braved several odds to make the film happening, the second one from the director in the language, the first being `Mathia’. ‘Yarwng’ is the second feature film of Don Bosco Sampari Pictures Tripura.
The story of the 95-minute feature film revolves round the large-scale displacement which happened in Tripura when the newly-built Dumbur dam submerged huge areas of arable land in the fertile Raima valley about 30 years ago. The lead actors of Yarwng are Meena Debbarma, Nirmal Jamatia and Sushil Debbarma.
The film is about the romance between Karmati and Wakhiri. On the eve of their marriage, the dam submerges the entire village and separates them. ‘Yarwng’ was shot on actual locations like Bolongbasa and adjoining areas and many of the people who act in the film are real life victims of displacement.
http://www.expressbuzz.com/edition/story.aspx?title=Strong%20Malayali%20crew%20in%20award-winning%20film&artid=4kHd8FjvNRE=&type=
THIRUVANANTHAPURAM: While busy analysing why Malayalam films missed out on the big awards in the National Film Award category, a group of Malayalis are wondering why they are not being counted - the crew of the Kokborok film `Yarwng’ which won the national honour (award for the best film in each of the language not included in Schedule VIII of the Constitution). In addition to its director Fr Joseph Pulinthanath, `Yarwng’, which means `roots’, has a bunch of Malayalis associated with it - cameraman Kannan, sound recordist Krishna Kumar, associate cameraman Shaji Pattanam, Krishnan Unni who does sound mixing, editor Sasi Menon and Mahesh Narayanan, associate director Sajiv Pazhoor and producer Fr K Joseph.
“It is a big honour. We all are very happy about it,’’ Fr Joseph Pulinthanath, a Malayali priest now settled in Assam. The Kokborok tribe in Tripura has been neglected for long and the film gave a new identity, an unprecedented one, for the tribe and the language. The 60-member crew braved several odds to make the film happening, the second one from the director in the language, the first being `Mathia’. ‘Yarwng’ is the second feature film of Don Bosco Sampari Pictures Tripura.
The story of the 95-minute feature film revolves round the large-scale displacement which happened in Tripura when the newly-built Dumbur dam submerged huge areas of arable land in the fertile Raima valley about 30 years ago. The lead actors of Yarwng are Meena Debbarma, Nirmal Jamatia and Sushil Debbarma.
The film is about the romance between Karmati and Wakhiri. On the eve of their marriage, the dam submerges the entire village and separates them. ‘Yarwng’ was shot on actual locations like Bolongbasa and adjoining areas and many of the people who act in the film are real life victims of displacement.
http://www.expressbuzz.com/edition/story.aspx?title=Strong%20Malayali%20crew%20in%20award-winning%20film&artid=4kHd8FjvNRE=&type=
Bollywood returns to Russian screens
September, 10 2009
Oxana Naralenkova, RIR
Cinema: Indian films remain popular in post-Soviet times
Indian films are returning to Russian cinemas. As part of the Year of India in Russia, a series of major film events are including Indian film festivals. The exhibition “The History of Indian Cinema (Bollywood)” will also take place in various Russian cities.
The first screenings took place at the 31st Moscow International Film Festival. An Indian week was also part of the 14th St Petersburg International Film Festival in June.
Films included the drama Yarwng, shot in the indigenous Kokborok tribal language by Catholic priest Father Joseph Pulinthanath; the first film directed by Bollywood star Aamir Khan, Like Stars On Earth, which was India's official entry to The Oscars; Four Chapters from young Calcuttan director Suman Mukhopadhyay; Priyadarshan’s The Wedding Sari; Indian James Bond; and Fashion from leading Indian director Madhur Bhandarkar.
In addition, retrospective screenings were held of films by the famous Indian director Shyam Benegal, member of the jury at the 31st Moscow International Film Festival.
The Russian passion for Indian films, born in the USSR, continues to grow in the modern day.
It was in the 1950s that Soviet moviegoers first discovered “the distant India of miracles”.
When Indian Prime Minister Jawaharlal Nehru visited the Soviet Union in 1955, his photograph was everywhere – in shop windows, on streets and at intersections. Thousands of people lined up for tickets to be the first to see Indian films and the striking, colourful performances of Indian dancers and musicians. Indian actor Raj Kapoor, who came to Moscow around the same time, left the Soviet people literally besotted. According to eyewitnesses, Kapoor’s shiny ZIS (the grand-style Soviet automobile meant to ferry the actor back to his hotel), which was parked outside the Udarnik movie theatre, never left the curb. The crowd simply picked the car up (with Kapoor in it) and carried it off.
Then came the Indian saga about twin sisters, Seeta Aur Geeta (1972), a marvelous reminiscence of distant childhood. Children in Moscow courtyards tried to repeat the circus tricks of the brave heroine, Hema Malini. They copied her tightrope act and her daring manner of behaviour and speech. Indian cinema fans here still remember how one of the twins taught her wicked aunt a lesson. Songs from Indian movies were especially popular in the Soviet Union in the 1980s. The fashion for disco dancing forced young Russians to view Indian cinema differently after the appearance of Disco Dancer (1982). The rags-to-riches story of an ordinary young Indian boy who manages to become a famous singer once again staggered the imagination of Soviet moviegoers. Mithun Chakraborty, the film’s star, replaced Raj Kapoor in the eyes of the new generation. Disco Dancer earned close to 60 mn roubles at a time when movie tickets cost 20-50 kopecks. The dance halls at Soviet summer resorts in the ‘80s resounded with the sounds of “I Am a Disco Dancer”. Some fanatics were capable of requesting the song ten times over.
After 1979, the year of the joint Soviet-Indian film The Adventures of Ali Baba and the Forty Thieves, new Indian films began to be distributed in the USSR every month – this at a time when the number of movies imported from capitalist countries did not exceed 40 per year.
Who of the newest generation of Indian actors is loved in Russia today? The answer would probably be the strikingly beautiful Aishwarya Rai (“rai” in Russian means “paradise”). Even her last name sounds magical to the Russian ear, paradise being “a place of eternal bliss for the souls of the righteous”. True, Miss Rai is best known to Russians, as with residents of other countries, for her work in Hollywood films. Bride and Prejudice (2004), Mistress of Spices (2005) and The Last Legion (2007) are the films featuring Rai shown most often on Russian television. Meanwhile, Russia continues to love Indian cinema classics from the 1960s and 1970s.
These are the films most talked about on Internet forums, where fans lovingly collect photographs and stories of their idols. They constitute a retrospective of Indian cinema that is regularly shown on Russian television, especially the Domashny channel, which is aimed at women and promotes family values. For Russian fans of Indian films, there is even a special satellite channel called India TV. Russia’s love of Indian films has now spilled over into a mass passion for Indian dance. Every self-respecting sports club in Moscow teaches yoga and the art of Indian dance. Russian girls array themselves in saris for these lessons, which are more popular even than traditional European fitness classes.
http://rbth.ru/articles/2009/09/10/100909_bollywood.html
Oxana Naralenkova, RIR
Cinema: Indian films remain popular in post-Soviet times
Indian films are returning to Russian cinemas. As part of the Year of India in Russia, a series of major film events are including Indian film festivals. The exhibition “The History of Indian Cinema (Bollywood)” will also take place in various Russian cities.
The first screenings took place at the 31st Moscow International Film Festival. An Indian week was also part of the 14th St Petersburg International Film Festival in June.
Films included the drama Yarwng, shot in the indigenous Kokborok tribal language by Catholic priest Father Joseph Pulinthanath; the first film directed by Bollywood star Aamir Khan, Like Stars On Earth, which was India's official entry to The Oscars; Four Chapters from young Calcuttan director Suman Mukhopadhyay; Priyadarshan’s The Wedding Sari; Indian James Bond; and Fashion from leading Indian director Madhur Bhandarkar.
In addition, retrospective screenings were held of films by the famous Indian director Shyam Benegal, member of the jury at the 31st Moscow International Film Festival.
The Russian passion for Indian films, born in the USSR, continues to grow in the modern day.
It was in the 1950s that Soviet moviegoers first discovered “the distant India of miracles”.
When Indian Prime Minister Jawaharlal Nehru visited the Soviet Union in 1955, his photograph was everywhere – in shop windows, on streets and at intersections. Thousands of people lined up for tickets to be the first to see Indian films and the striking, colourful performances of Indian dancers and musicians. Indian actor Raj Kapoor, who came to Moscow around the same time, left the Soviet people literally besotted. According to eyewitnesses, Kapoor’s shiny ZIS (the grand-style Soviet automobile meant to ferry the actor back to his hotel), which was parked outside the Udarnik movie theatre, never left the curb. The crowd simply picked the car up (with Kapoor in it) and carried it off.
Then came the Indian saga about twin sisters, Seeta Aur Geeta (1972), a marvelous reminiscence of distant childhood. Children in Moscow courtyards tried to repeat the circus tricks of the brave heroine, Hema Malini. They copied her tightrope act and her daring manner of behaviour and speech. Indian cinema fans here still remember how one of the twins taught her wicked aunt a lesson. Songs from Indian movies were especially popular in the Soviet Union in the 1980s. The fashion for disco dancing forced young Russians to view Indian cinema differently after the appearance of Disco Dancer (1982). The rags-to-riches story of an ordinary young Indian boy who manages to become a famous singer once again staggered the imagination of Soviet moviegoers. Mithun Chakraborty, the film’s star, replaced Raj Kapoor in the eyes of the new generation. Disco Dancer earned close to 60 mn roubles at a time when movie tickets cost 20-50 kopecks. The dance halls at Soviet summer resorts in the ‘80s resounded with the sounds of “I Am a Disco Dancer”. Some fanatics were capable of requesting the song ten times over.
After 1979, the year of the joint Soviet-Indian film The Adventures of Ali Baba and the Forty Thieves, new Indian films began to be distributed in the USSR every month – this at a time when the number of movies imported from capitalist countries did not exceed 40 per year.
Who of the newest generation of Indian actors is loved in Russia today? The answer would probably be the strikingly beautiful Aishwarya Rai (“rai” in Russian means “paradise”). Even her last name sounds magical to the Russian ear, paradise being “a place of eternal bliss for the souls of the righteous”. True, Miss Rai is best known to Russians, as with residents of other countries, for her work in Hollywood films. Bride and Prejudice (2004), Mistress of Spices (2005) and The Last Legion (2007) are the films featuring Rai shown most often on Russian television. Meanwhile, Russia continues to love Indian cinema classics from the 1960s and 1970s.
These are the films most talked about on Internet forums, where fans lovingly collect photographs and stories of their idols. They constitute a retrospective of Indian cinema that is regularly shown on Russian television, especially the Domashny channel, which is aimed at women and promotes family values. For Russian fans of Indian films, there is even a special satellite channel called India TV. Russia’s love of Indian films has now spilled over into a mass passion for Indian dance. Every self-respecting sports club in Moscow teaches yoga and the art of Indian dance. Russian girls array themselves in saris for these lessons, which are more popular even than traditional European fitness classes.
http://rbth.ru/articles/2009/09/10/100909_bollywood.html
Buddhadev opens national film fete
Kozhikode, Aug 4 : Eminent Director Buddhadev Dasgupta inaugurated the sixth edition of the National Film Festival of Kerala (NFFK) here.
Besides inaugural Bengali film ''Ami, YasinAr Amar Madhubala/The Voyeurs,'' by eminent diector Buddhadev Dasgupta, altogether 16 films would be screened in the three-day event to be held in three categories -- Malayalam Cinema, NFDC section and Indian Cinema.
Some of them were ''Mirch Masala'' by Ketan Mehta, ''Kanchivaram'' by Priyadarsan, "Yarwng Roots" by Joseph Pulinthanath sdb, ''Ganashatru'' (Public Enemy) by Satyajit Ray, ''Vilapangalkkappuram'' by T V Chandran, ''Bara Aana'' by Raja Menon, ''Mammoo'' by Shyam Bengal, Bioscope by K M Madhusudhanan and ''Firaq'' by Nandida Das.
The programme inaugorated yesterday evening was being organised by the Kerala State Chalachitra Academy.
--UNI
http://www.newkerala.com/nkfullnews-1-85606.html
Besides inaugural Bengali film ''Ami, YasinAr Amar Madhubala/The Voyeurs,'' by eminent diector Buddhadev Dasgupta, altogether 16 films would be screened in the three-day event to be held in three categories -- Malayalam Cinema, NFDC section and Indian Cinema.
Some of them were ''Mirch Masala'' by Ketan Mehta, ''Kanchivaram'' by Priyadarsan, "Yarwng Roots" by Joseph Pulinthanath sdb, ''Ganashatru'' (Public Enemy) by Satyajit Ray, ''Vilapangalkkappuram'' by T V Chandran, ''Bara Aana'' by Raja Menon, ''Mammoo'' by Shyam Bengal, Bioscope by K M Madhusudhanan and ''Firaq'' by Nandida Das.
The programme inaugorated yesterday evening was being organised by the Kerala State Chalachitra Academy.
--UNI
http://www.newkerala.com/nkfullnews-1-85606.html
From berets to Balibo: Brisbane’s feast of film
REVIEW, AUSTRALIA
Preview by Paul Benedek
26 July 2009
(Extract)
In the year of the brilliant Samson and Delilah, BIFF will bring a stream of films by or about Indigenous people, called Colourise films.
These include The Inheritors, which documents rural Mexico, capturing the dignity and humanity of people in the face of incredible exploitation. Both Roots and Birdwatchers tell a universal story of displacement from land and culture.
In the case of Roots, people are uprooted by the construction of the Dumbur Dam in India, which submerged huge areas of fertile land.
In Birdwatchers, a once proud Indigenous community in Brazil is broken up and forced to live on small allotments amid cattle ranches. Filmmakers and thinkers will discuss the issues of these films at the Colourise BIFF seminar.
BIFF promises to be ten days of intense, rewarding film experiences — see you in the theatres.
http://www.greenleft.org.au/2009/804/41356
Preview by Paul Benedek
26 July 2009
(Extract)
In the year of the brilliant Samson and Delilah, BIFF will bring a stream of films by or about Indigenous people, called Colourise films.
These include The Inheritors, which documents rural Mexico, capturing the dignity and humanity of people in the face of incredible exploitation. Both Roots and Birdwatchers tell a universal story of displacement from land and culture.
In the case of Roots, people are uprooted by the construction of the Dumbur Dam in India, which submerged huge areas of fertile land.
In Birdwatchers, a once proud Indigenous community in Brazil is broken up and forced to live on small allotments amid cattle ranches. Filmmakers and thinkers will discuss the issues of these films at the Colourise BIFF seminar.
BIFF promises to be ten days of intense, rewarding film experiences — see you in the theatres.
http://www.greenleft.org.au/2009/804/41356
Subscribe to:
Posts (Atom)