Beneath the Divided Sky Cinema, Parallel Cinema
- Arts Illustrated June & July 2016 - Section - 7 Cinema I wanted to start with this whole It’s actually an understanding of winning is always considered to term of ‘parallel cinema’ that’s my society. In fact, when Marx be with power and force – always associated with your work. used that term, it’s a bit conde- whereas Gandhi said that one Do you think this is a very scending, I thought. This ‘village can also win over people by intellectual tag? Does it bother you? idiocy’ itself… there is no ‘urban sacrificing, by Satyagraha or else idiocy’. So they seem to think by negotiating. Hasina is totally When we are making a film, you that the villages lack some kind of Satyagraha, she goes and sits in know, these things do not bother intellectual capacity to under- front of a mosque and asks for us at all. What we concentrate on stand things, which is not true. justice. Nagi (Dweepa) tries to are the characters, the situations, My characters are actually my negotiate and wins; she doesn’t the politics, the images. We don’t attempt to understand what, in think it is demeaning, or losing even bother if it’s going to be a Sanskrit, we call ‘dharanai’, her principles. And Thaayi commercial success, whether it’s which is something that is there, Sahiba, by sacrificing her land, going to be branded as popular which makes you carry on with sacrificing her zamindari, she cinema, commercial cinema, art your life. Similarly, all the wins over the affection of her Beneath the divided sky cinema, parallel cinema.
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