Press Kit 2016 Our Vision

Total Page:16

File Type:pdf, Size:1020Kb

Press Kit 2016 Our Vision PRESS KIT 2016 OUR VISION You don’t come to Jio MAMI 18th Mumbai Film Festival with Star to see a film, you come to experience it! The Jio MAMI 18th Mumbai Film Festival with Star is an inclusive movie feast. We showcase the latest cutting-edge, independent cinema – art house fare alongside genre movies from Bollywood, Hollywood and cult international movies. We offer the best of world cinema to the people of Mumbai and we offer the best of Indian cinema to the world. The Festival is run by the Mumbai Academy of Moving Image popularly known as MAMI. Jio MAMI with Star is a space where Aamir Khan, Quentin Tarantino, Zhang Yimou and Rajinikanth would all feel equally at home. This is a space where we revel in the sheer pleasure of cinema, the joy it gives us and how much it enhances our lives. The goal is to nurture and ignite a passion for movies. Jio MAMI with Star is also about helping independent filmmakers gain the credibility and publicity they justly deserve. The festival provides a forum for talented filmmakers to be recognized for their work, creativity, and achievements. We want Jio MAMI Mumbai Film Festival with Star to be shorthand for excellence in cinema. BRAND IDENTITY: FISHING FOR TALENT For a city with strong roots in cinema, we envisioned for MAMI an identity that would be both inclusive and Indian. The new identity needed to represent the wide array of styles, events and people who are associated with it, as well as the city that it calls home. The new logo, “Fishing for Talent,” perfectly encapsulates that. Mumbai is a collection of islands, communities, hopes and dreams. Whatever our differences, we put them aside for the movies. MAMI is always looking for fresh talent and in that sense, we are ‘fishing for talent.’ The two fish creates a geometric pattern that forms the Devanagari representation of MAMI in Hindi. The use of the Devanagari script sets us apart from other international film festivals, and the simple geometric forms combined with the use of yellow make it friendly, approachable, but most of all, Indian. An identity we can all rally behind and one we instantly relate to as a representation of Mumbai. JIO MAMI WITH STAR: FILM CLUB YEAR ROUND The Jio MAMI Film Club with Star was launched in May with a conversation between Sir Ian McKellen and Amir Khan. We followed that up with Indian premiers of films such as Brahman Naman and Google’s India in a Day. MAMI is committed to bring in great film content and conversations through the year. The MAMI FILM CLUB conducts year round events which include film screenings, Master classes, Film Appreciation Workshops, Knowledge Bootcamps, Digital Knowledge Series and Special Film Programmes for Children and Young Adults. EXCELLENCE IN CINEMA AWARDS The Festival, every year, identifies and awards the contribution of great artists in the world of cinema. The ‘Excellence in Cinema Award’ provides a great opportunity to highlight, applaud and promote works of such individuals. Jio MAMI with Star, in its 18th edition will honor achievements of two such film makers who have created memorable films over the years. SAI PARANJPYE Sai Paranjpye is a prominent screenwriter and director who has been working in India cinema for the last four decades. Sai Paranjpye made a trendsetting impact. Moving from writing to theatre, television to films, Sai Paranjpye has straddled many mediums. Her children’s stories have fascinated young audiences, her TV serials have become household names and her films have been feted in India and abroad. She has won numerous awards, both National and International for her writing and films. She was conferred with the prestigious Padma Bhushan in 2006. She has served on numerous juries and has been the Chairperson of the Children’s Film Society of India. She graduated from the National School of Drama and her first job was with AIR, Pune as an announcer, from where she quickly moved to Children’s programming. Over the years, she has written and directed plays in Marathi, Hindi, and English, both for adults and children. Her first feature film “Sparsh” was released in 1980 and went on to win five National Awards. Other films include Chashme Buddoor, Katha, Angootha Chaap, Disha, Papeeha, Saaz and Chakachak. Her TV serials include Ados Pados and Chote Bade. Her Marathi plays include Jaswandi, Sakkhe Shejari, and Albel. Known for a trademark sense of humor, all her work has dealt with contemporary themes. JIA ZHANGKE A pre-eminent figure among the Sixth Generation of Chinese film makers, Zhangke’s primary focus has been on a cinematic representation of his country’s post-Mao and post-globalization cultural history. His highly distinctive style --- a mix of long-shot, single-take compositions, landscape tableaux, direct sound and blaring pop music --- combined with a humane concern for the working-class and poorer sections of society have elevated Zhangke into a significant and politically astute chronicler of modern-day China. From his first two narrative features (Pickpocket, 1997; Platform, 2000) through to one of his docu-fiction hybrids (24 City, 2008) and up to his most recent films (A Touch of Sin, 2013; Mountains May Depart, 2015), Zhangke has offered a unique perspective on a transitional generation whose commonplace lives evoke universal resonance. JURIES INDIA GOLD REHA ERDEM HEAD OF JURY Born in Istanbul, Reha Erdem graduated from the Cinema Department of Paris 8 University. He obtained his M.A. in Plastic Arts at the same University. He made his first feature-length film, Oh Moon in 1989, as a French-Turkish co- production. He made Run for Money in 1999, Mommy, I’m Scared in 2004, Times and Winds in 2006, My Only Sunshine, Turkish-Greek-Bulgarian co-produc- tion, in 2008, Kosmos in 2009, Jin in 2012 and Singing Women (2013) are Turkish-French- German co-productions. His latest film, Big Big World (2016) has won the Special Jury Prize in the Orizzonti Section of the Venice Film Festival. MYCHAEL DANNA Mychael Danna is an Academy Award-winning Film Composer recognized for his evocative blending of non-western traditions with orchestral and electronic music. He won the 2013 Oscar and Golden Globe for his score for Ang Lee’s Life of Pi and has composed many award-winning scores for his longtime collaborator, Atom Egoyan (The Sweet Hereafter, 1997 ; Exotica, 1994). His other noted credits include films such as Monsoon Wedding (2001), Antwone Fisher (2002), Being Julia (2004), Capote (2005), Water (2005), Little Miss Sunshine (2006), Surf’s Up (2007), 500 Days of Summer (2008), The Imaginarium of Doctor Parnassus (2009), Moneyball (2011), Sanjay’s Super Team (2015) and The Good Dinosaur (2015). Danna's recent films include Billy Lynn's Long Halftime Walk (2016) and Storks (2016). YONFAN Yonfan started out as a renowned photographer and was noted for his celebrity portraits, before he made the transition to filmmaking. He began making films in the late ‘80s and till date has directed thirteen films including A Certain Romance (1984), Story of Rose (1985), Bugis Street (1995), Bishonen (1998), Peony Pavilion (2001) and Prince of Tears (2009). He has also been on the juries of the film festivals at Busan and Sydney. STEPHANIE ZACHAREK Stephanie Zacharek is the film critic for Time Magazine. She has previously worked with Boston Phoenix and was the chief film critic for Salon.com and the Village Voice. A graduate of Syracuse University, New York, Zacharek’s writings on books and and pop culture have also appeared in the New York Times, New York Magazine, the Los Angeles Times, Rolling Stone and Sight and Sound. In 2010, as a part of the Berlinale Talent Campus, Zacharek participated on the panel ‘Fear Eats the Soul: The State of Film Criticism’. She is a member of the New York Film Critics Circle and the National Society of Film Critics and was a finalist for the 2015 Pulitzer Prize in Criticism. TOMASZ WASILEWSKI Tomasz Wasilewski is a Polish film director and screenwriter. His 2016 film United States of Love was shown at the 66th Berlin International Film Festival where he won the Silver Bear for Best Script. He is considered one of the most interesting voice in the young Polish directing scene and his cinema is characterized by a minimalistic style featuring psychological portraits created with precision and sensitiveness. INTERNATIONAL COMPETITION MIGUEL GOMES HEAD OF JURY Miguel Gomes studied cinema at the Lisbon Theatre and Film School. He worked as a film critic from 1996 to 2000. Subsequently, he directed several short films including the Oberhausen Short Film Festival winner Meanwhile (1999) before directing features such as The Face You Deserve (2004), Our Beloved Month Of August (2008), the Berlin FIPRESCI prize winner Tabu (2012) and Arabian Nights, a three-part feature film that premiered in the Directors Fortnight at Cannes in 2015. TALA HADID Tala Hadid made her first docufeature, Sacred Poet on Pier Paolo Pasolini. Her films have screened at film festivals around the world, including Berlin and Venice and shown, among other venues, at the Museum of Modern Art (MoMA) and Lincoln Center in New York, The Walker Arts Center, La Cinémathèque Française in Paris and the Photog- rapher’s Gallery in London. Her films have received numerous awards, including a Student Academy Award in 2005 for Tes Cheveux Noirs Ihsan. In 2015, Hadid's latest project, House in the Fields, was selected to screen as a work-in-progress at the 72nd Venice Film Festival, where it was awarded two prizes. ANURAG KASHYAP Anurag Kashyap is an Indian film writer, director, producer.
Recommended publications
  • Writers and Creative Advisors Selected for Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 4­8
    FOR IMMEDIATE RELEASE Media contacts: March 23, 2016 Chalena Cadenas 310.360.1981 [email protected] Mauli Singh [email protected] Writers and Creative Advisors Selected for Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 4­8 Lab Recognizes and Supports Six Emerging Independent Filmmakers from India Los Angeles, CA — Sundance Institute and Drishyam Films today announced the artists and creative advisors ​ selected for the second Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 4­8. The Lab ​ ​ supports emerging filmmakers in India, as part of the Institute’s sustained commitment to international artists, which in the last 25 years has included programs in Brazil, Mexico, Jordan, Turkey, Japan, Cuba, Israel and Central Europe. Now in its second year, the four­day Lab is a creative and strategic partnership between Drishyam Films and Sundance Institute, and gives independent screenwriters the opportunity to work intensively on their feature film scripts in an environment that encourages innovation and creative risk­taking. The Lab is centered around one­on­one story sessions with creative advisors. Screenwriting fellows engage in an artistically rigorous process that offers lessons in craft, a fresh perspective on their work and a platform to fully realize their material. Leading the Lab in India is Drishyam founder, Manish Mundra. He said, “A beautiful heritage city in my hometown ​ ​ of Rajasthan, Udaipur forms an ideal writers retreat, and is the perfect environment for a diverse group of emerging writers and renowned mentors to have a refreshing and productive exchange. Our goal is that the six selected Indian projects, after undergoing a comprehensive mentoring process, will quickly move from script to screen and make their mark globally.
    [Show full text]
  • Movie Aquisitions in 2010 - Hindi Cinema
    Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions
    [Show full text]
  • Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films.
    [Show full text]
  • Page 01 July 06.Indd
    SUNDAY 6 JULY 2014 • [email protected] • www.thepeninsulaqatar.com • 4455 7741 inside Life Itself: CAMPUS Portrait of the • BFPIS students show excellence in Federal critic as a man Board SSC-I, 2014 exams P | 4 P | 8-9 MARKETPLACE • Sana launches Ramadan raffle promotion A local but highly efficient tradition, P | 5 the man-powered wooden scooters are HEALTH everywhere on the • Why it’s such a headache to schedule a paved highways and doctor’s appointment dusty sidestreets of Goma, Congo, holding P | 7 their own with the motorcycle taxis. WHEELS • Audi A6 TDI Quattro: A perfect blend of luxury and common sense P | 11 TECHNOLOGY • Britain hopes to catch up in global robotics race TSHUKUDU, P | 12 LEARN ARABIC • Learn commonly THE ALL-PURPOSE used Arabic words and their meanings TRANSPORT SCOOTER P | 13 2 PLUS | SUNDAY 6 JULY 2014 COVER STORY Man-powered wooden scooters A man stands next to a tshukudu, a wooden push- bike, in Goma. BY ALBERT KAMBALE A man makes a tshukudu in a workshop in Nyirangongo, HAT do you do when you in the Kibumba region. need to deliver several hun- dred pounds of potatoes, 150 stalks of sugar cane, 30 euca- lyptus saplings and eight sacks Wof coal, without motorised transport? For resi- dents of Goma, in the war-scarred east of the Democratic Republic of Congo, the answer to this, and many other problems, is the tshukudu. A local but highly efficient tradition, the man- powered wooden scooters are everywhere on the paved highways and dusty sidestreets of Goma, holding their own with the motorcycle taxis.
    [Show full text]
  • 725 19 - 25 September 2014 20 Pages Rs 50
    #725 19 - 25 September 2014 20 pages Rs 50 BIKRAM RAI Taking power into our own hands ut of reach of national transmission lines, rural Nepalis have stopped waiting for the government to come to them. They are Oharnessing small streams and generating their own electricity from micro-hydro plants managed by local cooperatives. More than 2,500 micro-hydro plants are in operation throughout the country RED supplying 40 MW of electricity to local grids. This winter when the capital suffers 14 hours of power cuts daily, many parts of rural Nepal will be lit up at night. Shyam Nakarmi (above) makes turbines to power PANDA small hydropower plants at his workshop in Banepa. BY SUNIR PANDEY ALERT Nepal is home to one-tenth of the 10,000 endangered red pandas left in the wild in Asia. A successful conservation effort in eastern Nepal shows Thinking small how local communities can help protect a species that is threatened by Improving the efficiency of the estimated 35,000 traditional habitat loss and hunting. September 20 is Red Panda Day, and will be water mills across the country could empower rural Nepal. marked with the slogan, ‘Conserve Locally, Educate Globally’. BY KUNDA DIXIT IN KAVRE PAGE 16-17 BY SONAM TASHI LAMA IN TAPLEJUNG PAGE 10-11 2 EDITORIAL 19 - 25 SEPTEMBER 2014 #725 POLITICS IN A VACUUME he sight of the country’s prime minister on a mobile An all-party consensus would be ideal, of course, but phone publicly beseeching the leader of an outcast failing that the NC-UML should show that they have what Tpolitical party to come for negotiations sums up the it takes to push it to a vote.
    [Show full text]
  • Media Release Reliance Entertainment and Phantom Films
    Media Release Reliance Entertainment and Phantom Films’ Super 30 to release on 23rd Nov, 2018 Directed by Vikas Bahl, “Super 30” will star Hrithik Roshan Mumbai, November 4, 2017: Anil D. Ambani led Reliance Entertainment and Phantom Films’ “Super 30” directed by Vikas Bahl and starring Hrithik Roshan in the lead role will release on 23rd November 2018. Super 30 is a story of a mathematics genius from a modest family in Bihar, Anand Kumar, who was told that only a king’s son can become a king. But he went on to prove how one poor man could create some of the world’s most genius minds. Anand Kumar’s training program is so effective that students post cracking IIT have gone on to become some of the most successful professionals. Many students trained under the Super 30 program have joined some of the top global companies like Adobe, Samsung Research Institute, Amazon etc. Anand Kumar said, “I trust Vikas Bahl with my life story and I believe that he will make a heartfelt film. I am a rooted guy so I feel some level of emotional quotient is required to live my life on screen. I have seen that in Hrithik – on and off screen. I have full faith in his capabilities.” Vikas Bahl, truly inspired by Anand Kumar’s initiative, said, “Super 30 is a story of the struggles of those genius kids who have one opportunity and how those 30 amongst thousands of others redefine success. The film will focus on the Super 30 program that Kumar started, which trains 30 IIT aspirants to crack its entrance test.” Vikas Bahl is one of the most critically and commercially acclaimed directors of our country.
    [Show full text]
  • Games+Production.Pdf
    This may be the author’s version of a work that was submitted/accepted for publication in the following source: Banks, John& Cunningham, Stuart (2016) Games production in Australia: Adapting to precariousness. In Curtin, M & Sanson, K (Eds.) Precarious creativity: Global media, local labor. University of California Press, United States of America, pp. 186-199. This file was downloaded from: https://eprints.qut.edu.au/87501/ c c 2016 by The Regents of the University of California This work is licensed under a Creative Commons CC-BY license. To view a copy of the license, visit http://creativecommons.org/licenses. License: Creative Commons: Attribution 4.0 Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// www.ucpress.edu/ book.php?isbn=9780520290853 CURTIN & SANSON | PRECARIOUS CREATIVITY Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserving and rein- vigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Precarious Creativity Precarious Creativity Global Media, Local Labor Edited by Michael Curtin and Kevin Sanson UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advanc- ing scholarship in the humanities, social sciences, and natural sciences.
    [Show full text]
  • Crimeindelhi.Pdf
    CRIME IN DELHI 2018 as against 2,23,077 in 2017. The yardstick of crime per lakh of population is generally used worldwide to compare The social churning is quite evident in the crime scene of the crime rate. Total IPC crime per lakh of population was 1289 capital. The Delhi Police has been closely monitoring the ever- crimes during the year 2018, in comparison to 1244 such changing modus operandi being adopted by criminals and crimes during last year. adapting itself to meet these new challenges head-on. The year 2018 saw a heavy thrust on modernization coupled with unrelenting efforts to curb crime. Here too, there was a heavy TOTAL IPC CRIME mix of the state-of-the-art technology with basic policing. The (per lakh of population) police maintained a delicate balance between the two and this 1500 was evident in the major heinous cases worked out this year. 1243.90 1289.36 Along with modern investigative techniques, traditional beat- 1200 1137.21 level inputs played a major role in tackling crime and also in 900 its prevention and detection. 600 Some of the important factors impacting crime in Delhi are 300 the size and heterogeneous nature of its population; disparities in income; unemployment/ under employment, consumerism/ 0 materialism and socio-economic imbalances; unplanned 2016 2017 2018 urbanization with a substantial population living in jhuggi- jhopri/kachchi colonies and a nagging lack of civic amenities therein; proximity in location of colonies of the affluent and the under-privileged; impact of the mass media and the umpteen TOTAL IPC advertisements which sell a life-style that many want but cannot afford; a fast-paced life that breeds a general proclivity 250000 223077 236476 towards impatience; intolerance and high-handedness; urban 199107 anonymity and slack family control; easy accessibility/means 200000 of escape to criminal elements from across the borders/extended 150000 hinterland in the NCR region etc.
    [Show full text]
  • Global Digital Cultures: Perspectives from South Asia
    Revised Pages Global Digital Cultures Revised Pages Revised Pages Global Digital Cultures Perspectives from South Asia ASWIN PUNATHAMBEKAR AND SRIRAM MOHAN, EDITORS UNIVERSITY OF MICHIGAN PRESS • ANN ARBOR Revised Pages Copyright © 2019 by Aswin Punathambekar and Sriram Mohan All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America Printed on acid- free paper First published June 2019 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication data has been applied for. ISBN: 978- 0- 472- 13140- 2 (Hardcover : alk paper) ISBN: 978- 0- 472- 12531- 9 (ebook) Revised Pages Acknowledgments The idea for this book emerged from conversations that took place among some of the authors at a conference on “Digital South Asia” at the Univer- sity of Michigan’s Center for South Asian Studies. At the conference, there was a collective recognition of the unfolding impact of digitalization on various aspects of social, cultural, and political life in South Asia. We had a keen sense of how much things had changed in the South Asian mediascape since the introduction of cable and satellite television in the late 1980s and early 1990s. We were also aware of the growing interest in media studies within South Asian studies, and hoped that the conference would resonate with scholars from various disciplines across the humanities and social sci- ences.
    [Show full text]
  • Karthik Calling Karthik Movie Hindi Hd Download
    Karthik Calling Karthik Movie Hindi Hd Download 1 / 4 2 / 4 Karthik Calling Karthik Movie Hindi Hd Download 3 / 4 ‪Hindi audio‬ ... after getting early morning phone calls from himself. SD HD HD selected ... Once you select Rent you'll have 14 days to start watching the movie and 48 ... Karthik suffers with huge confidence issues and is miserable at his just ... Account profile · Download Center · Microsoft Store support · Returns · Order .... Karthik Calling Karthik Songs Download- Listen Karthik Calling Karthik MP3 songs online free. Play Karthik Calling Karthik movie songs MP3 by Shankar .... Karthik Calling Karthik is a 2010 Indian psychological thriller film, written and directed by Vijay ... Nikhat Kazmi of Times of India rated the movie 3.5/5 stars, calling it ... Farhan Akhtar confirmed this and requested people to not download it .... Check out Karthik Calling Karthik reviews, ratings, browse wide selection of blu-ray, DVDs and shop online ... All items in Movies & TV shows are non returnable.. Sep 28, 2019 - Karthik Calling Karthik 2010 Hindi HD Movie Free Watch. ... Sarabham 2014 Tamil Full Movie Watch Online Free | Download Free Hindi Movies .... Rent Karthik Calling Karthik (2010) starring Farhan Akhtar and Deepika Padukone on DVD and Blu-ray. Get unlimited DVD Movies & TV Shows delivered to your door with no late ... As with a number of other recent Bollywood products of note, this occurs .... Download our app · How DVD Works · Browse all genres · #DVD20.. This more of a psychological movie which shows Karthik Narayan (acted by ... as none other than Karthik himself (Hence the movie title Karthik Calling Karthik) ..
    [Show full text]
  • Hindi Movie Hunterrr Free Download
    Hindi Movie Hunterrr Free Download 1 / 4 Hindi Movie Hunterrr Free Download 2 / 4 3 / 4 28 Sep 2017 - 140 min - Uploaded by ShemarooHunterrr is a story of Mandar Ponkshe, an ordinary guy, who is obsessed and always keeps .. Hunterrr (2015) Hindi Movie free downloading , A Bollywood adult comedy Movie. Directed of Movie Harshavardhan Kulkarni.. 23 May 2018 . Hunterrr (2015) Full Movie Watch Online Free Download - TodayPk Movies, . hunter 2015 movie 300mb download, Hunterrr (2015) Hindi Full.. Radhika Apte in Hunterrr (2015) Gulshan Devaiah and Kallirroi Tziafeta at an event for Hunterrr . Language: Hindi . In the first cut of the movie, the song "Bachpan" was not yet ready and the Nancy Sinatra . Start your free trial .. 15 Jan 2016 . Hunterrr Full Movie (2015) Watch Online in DVD Print Quality Free Download . (2018) Hindi Full Movie Watch Online HD Print Free Download.. 31 May 2018 . The Hunterrr Movie In Hindi Hd Free Download.. 20 Mar 2015 . www.movieloverz.org - Get Free Download of All Mobile and Pc Movies,Games,Reality Shows . Download Hunterrr (2015) DVDScr Full Movie.. Hunterrr (2015) full Movie Download, Bollywood Hunterrr Free download in hd watch online mobile dvdrip mp4, mkv movie torrent in 720p bluray. Hunterrr (2015) full Movie Download. Language: HINDI. File Format: mkv. File Size: 500MB.. Hunterrr. 2015 TV-MA 2h 20m. A sex-obsessed young man tries to put his . International Movies, Indian Movies, Hindi-Language Movies, Romantic Movies. Director: Harshavardhan Kulkarni. GET A FREE MONTH . Available to download.. Hunterrr is a 2015 Indian adult comedy film written and directed by Harshavardhan Kulkarni. The film features Gulshan Devaiah, Radhika Apte and Sai.
    [Show full text]
  • “Forget My Creative Expression, I Can Tell Other Stories, but Can You Imagine Being a Part of a Society That Thinks That You Should Not Exist?” – Zoya Akthar
    “Forget my creative expression, I can tell other stories, but can you imagine being a part of a society that thinks that you should not exist?” – Zoya Akthar blogs.lse.ac.uk/southasia/2015/04/10/forget-my-creative-expression-ill-talk-about-something-else-but-can-you- imagine-being-a-part-of-a-society-that-thinks-that-you-should-not-exist-zoya-akthar/ 2015-4-10 In March Zoya Akhtar, eminent Bollywood filmmaker who is known for making films that are critically acclaimed and commercially successful such as Luck By Chance and Zindagi Na Milegi Dobara, attended the Economic Forum of LSE Conference to speak about Indian cinema and what makes the box office and industry tick. During her visit, she spoke to Sharanya Shriram about the BBC ’India’s Daughter’ documentary, censorship, and the representation of sexuality in Indian cinema. In a previous interview you had mentioned that as a woman you are more aware of the way you etch out female characters because you have a feel for how the general male audience in India perceives certain images of women, so would you, as a female writer and director from India, have approached the BBC documentary India’s Daughter in a different way? You could take any filmmaker on the planet, and it would have been a different documentary. It’s your personality, and not just where you’re from that affects how you approach a movie. As a filmmaker closer to home, yes, I would have addressed certain things differently, but the again maybe I wouldn’t have had the stomach for certain aspects.
    [Show full text]