Over the past decade, Indian directors have shown a greater desire to experiment beyond traditionally escapist fare. Both “Masaan” and “Court” also have first-time directors, Neeraj Ghaywan and Chaitanya Tamhane. Stephen Holden, writing in The New York Times, said “the film conjures an absurdist nightmare of bureaucratic incompetence, indifference and social inequity.” Last month, “Thithi,” a debut Indian feature scheduled for release in 2016, won two awards at the Locarno Film Festival. The movie has won dozens of awards, including two Lions at the Venice Film Festival. “Masaan” is the surest sign yet that a fresh crop of filmmakers is ushering Indian movies in a new direction in tune with the movements and language of global cinema.Įarlier this year, “Court,” a Kafkaesque portrait of life and justice in an Indian courtroom, opened to critical praise. Composed of parallel yet interconnected tales, “Masaan” explores India’s forces of caste and social conservatism, which continue to hold sway as the country makes a dizzying passage into the modern world.Īt the Cannes Film Festival this year, “Masaan” won the Fipresci Prize, awarded by international critics, and the Promising Future Prize in the Un Certain Regard section, becoming the first Indian movie to receive two awards at Cannes since the Oscar-nominated “Salaam Bombay” in 1988. In the middle of their clandestine sexual encounter, police officers barge into the room and threaten the couple, setting off a chain of events with devastating consequences. MUMBAI - At the beginning of “Masaan,” the most acclaimed Indian movie of the year, two lovers meet at a ramshackle motel in the holy northern city of Varanasi.
0 kommentar(er)
