The document summarizes key events from the 20th International Film Festival of Kerala (IFFK) held in Thiruvananthapuram, India in 2015. It discusses film screenings, lectures, and panel discussions that were part of the festival program. Specifically, it outlines a lecture by Australian scriptwriter Claire Dobbin on the role of film festivals in promoting human rights and new/marginalized art forms. It also summarizes comments made by various film directors who participated in events like the press meet and "Meet the Director" program about creative freedom and the role of censorship.

1. The most difficult part in writing is to
bring the ideas out and how to make
it into a film or script or play or novel...
it’s about understanding how to churn
it into a living dramatic entity.” The
level of expertise was evident when the
eminent American dramatist and screen
writer Martin Sherman spoke with ease
during the lecture session ‘Master Class
on Screenplay’ in Mascot Hotel, at 20th
International Film Festival of Kerala. With
his 20 stage plays being produced in over
55 countries during his lifetime, Sherman
imparted valuable thoughts and opinions
on contemporary writing techniques.
Martin Sherman is famous for infusing
his life experience, wisdom and vision into
his works. He is an openly gay, Jew, and
many of his works dramatize ‘outsiders’
dealing with the discrimination and
marginalization of minorities like gay,
female, foreign, disabled, and different in
religion, class or colour. His Pulitzer Prize-
nominated play Bent, produced in 1978,
explores the persecution of homosexuals
during holocaust, a highly sensitive and
controversial theme to touch at that time.
BentwasalsoaTonynomineeforBestPlay
in 1980 and won the Dramatists Guild’s
Hull-Warriner Award. The play alone was
produced in 35 countries. “Writing and
working previously with theatre is helpful
for writers as they will get to know how to
talk, when to talk, what to talk and what
not to talk with directors and others in
set”, says Sherman.
His other notable works include
Next Year in Jerusalem (1968), The Night
Before Paris (1969), Things Went Badly
in Westphalia (1971), Alive and Kicking
(1997), Aristo (2008) and re-write of the
book from the musical The Boy From
Oz, with the latter one earning him his
second Tony nomination in 2004. In 2005,
Sherman received a nomination for Best
Original Screenplay at British Academy of
Film and Television Arts (BAFTA) for the TV
movie Mrs. Henderson Presents. “Most
of the powerful screen-writers in America
are now working with TV series as it is the
only place they can be in full control. It
is possibly the most exciting film making
place right now”, commented Sherman.
Sherman was born in Philadelphia,
Pennsylvania, the only born to Russian-
Jewish immigrants, and had lived and
worked in London since 1980. Despite
his status as an expatriate, his proficient
wiring expertise never failed to garner
success and recognition in both British
and American stage. “If you make
a film, it’s always there. If not now,
someday, even after our death, it will be
appreciated.”
Jayasree C |
Martin Sherman
LifeIntoArt
Infusing
“

2. Out of the different film packages of
IFFK2015, the Korean package titled
Korean Panorama would be a darling
one for the Malayalee audience as they
are thoroughly pre-experienced with
Korean films in the earlier editions. The
package will feature the films made by
six prominent Korean film makers who
have proven their mettle in the field. The
Korean films exhibit a distinct character
that will attract a considerable number of
spectators in all editions of IFFK.
The Unfair, Clown of a Salesman,
Office, Stop, Madonna, and Right Now
Wrong Then are the films going to be
screened in the category. Office, directed
by Hong Wonchan depicts a twisted,
bloody satire of workplace drama. The
film starts with a dedicated office drudge
snapping and murdering his family with a
hammerandthesubsequentinvestigation
brings to light not only problems with
his place of employment, but larger
issues about toxic corporate politics.
Office is a horror-thriller genre film that
was shown in the Midnight Screening at
the 2015 Cannes Film Festival. ‘Orchid
Award for Best Narrative’ winning movie
Madonna, directed by Shin Su Won is also
an attraction in this package. Office takes
more of a pulpy approach to Korea’s
class inequality where as Madonna is
full-on misery porn. Su-won Shin adds a
welcome noir tinge to the story, though,
that for the most part keeps proceedings
from being overly sentimental. She is
exploring the conflicts between rich and
poor and class divide through her film.
Stop, directed by Kim Ki Duk screening
in this category is a film that gives us a
central theme on protection of nature
and the people suffering from natural
disasters. In the making of this film Kim
Ki Duk played the role of director, screen
writer, producer, choreographer and
editor. The film tells us about the story of
a young couple moving to Tokyo due to
the Fukushima nuclear incident as they
realize that the wife is pregnant. Unlike
his previous films, Kim Ki Duk selected a
different concept to visualize the health
hazards caused by the nuclear calamities
and creative proactive attitude towards
nature conservation.
The Unfair is a 2015 court room
drama film directed by Kim Sung- Je.
It’s a film in which a legal battle rages
between a prosecutor and a lawyer due
to the paternal love. Clown of a salesman
directed by Jo Chi Un is the film that
depicts the struggle of a father to find
money to pay the hospital bills of his
daughter. For that, he got hired for a job
that provides free entertainment to old
women in exchange of buying their health
products. The story goes on with the
hindrance which comes to his life while
he tries to make both ends meet. Right
Now, Wrong Then, the last film in this
package which bagged several awards, is
a film of minute observations rather than
grand revelations, less concerned with
butterfly-effect consequentiality than the
variable human foibles that can turn a
bad day into a good one. The package will
be an enriching bonus for the film lovers.
Amala T Chacko |
Korean
Kaleidoscope
2

3. Debut films are always crucial as it
can make or break the career of its
director. Successful directorial debuts
can open doors for new directors,
helping them to launch illustrious
careers or create a legacy that will last
long. A debut feature can add a lot of
pressure to its directors, as they have
to navigate through the treacherous
waters of the entertainment industry
and capture audience’s attention as
well. 20th
International Film Festival of
Kerala has included the category ‘First
Look’ to recognise some of the best
directorial debuts released in 2015.
Mexican feature -writer Celso R.
García enters the silver screen with
an appealing drama-comedy, The Thin
Yellow Line. The movie deals with
five financially strapped men hired
to paint the centre stripe along 120
miles of Mexican state highway, with
an underlying theme of economic
crisis in Mexico. In My Skinny Sister, an
eating-disorder drama is seen through
the eyes of the youngest member of a
dysfunctional family. Swedish writer-
director Sanna Lenken's has added the
right amount of humour and charm
to this simple tale, while the brilliant
performances from its lead characters
brings in more passion.Ethiopian
filmmaker Yared Zeleke's first feature
Lamb looks at a little boy who loves
cooking much more than ploughing the
land. Beautifully crafted, the movie tells
the story of Ephraim’s relationship with
his pet lamb, which provides a source
of solace amidst turmoil at home.
Hopefuls is an intriguing social realist
film from Brazil, which focuses on how
football gives many young Brazilians
the possibility of a better life, while also
preparing them for the unavoidable
disappointments that comes ones way.
Brazilian director Ives Rosenfeld has
accomplished in foregrounding emotion
and mood over plain narrative.
Chinese film maker Gan Bi’s Kaili
Blues is set in the mystical province of
Guizhou where doctor Chen Sheng,
embarks on a journey by train to find
his nephew, who had been abandoned
by his brother. The camera effortlessly
follows the hero on bike, foot and boat
uninterrupted, as he experiences his
past, present and future. Cesar Augusto
Acevedo makes his directorial debut
with Land and Shade, which tells a
spell-binding story of a rural wasteland
charged with rousing grief. The movie’s
slow pace allows it to communicate
different ways of life and aural rhythms
effectively with its audience. Being a
movie made about the Mexican gun
trafficking, there are plenty of guns
but few actual shots fired in 600 Miles.
Mexican director Gabriel Ripstein
takes a less sensational and true-to-
life approach for his debut movie.
Ripstein’s background as an established
writer- producer and also the presence
of seasoned actor Tim Roth makes 600
Miles a crowd-pleaser.
The American film maker Paul
Thomas Anderson reminds us of
the turmoil that a debut director
undergoes in his statement, “The very
first film, I had to fight to finish. It was
baptism by fire. I learned all the lessons
I needed to learn on the first film, about
protecting myself and how to keep a
lock on the editing-room door.’ May be,
this is true of all the directors who are
duly seasoned today.
First Look Baptism By Fire
Daily Bulletin Team |
07th
December 20153

4. Transgender characters are not
uncommon in Kannada films as in
Malayalam Films, but are mostly at the
receiving end of crude jokes. An edgy
Kannada film I am not He...She (Naanu
Avanalla Avalu) which bagged The Best
Actor and Best Make-up Artist award
at the National film Awards screened
at IFFK 2015 was the only film on
transgender issue in this festival.
The film that is based on the
autobiography of Living Smile Vidya,
one among the very few educated
transgenders of India, the founder-
director of Panmai Theatre and also the
first Indian transgender to receive the
British Council’s Charles Wallace Award
2013 for her excellence in theatre,
opened up the vistas of the internal and
external turmoil of the trans-community
through its narrative. BS Lingadevaru
throws all the stereotypes out of the
window. The protagonist in his film
Naanu Avanalla Avalu is a transgender,
a bold attempt in itself, who attempts
to become a complete transsexual
battling the shock of his family, social
stigma and the shortcomings of his
own kind. As Madesha transforms into
Vidya, through the linear narrative
the film turns realistic by the brilliant
acting of Sanchari Vijay, Sundar and
Sumithra as well as the candid shots
of the cinematographer Ashok Raman.
The music of Anoop Seelin, especially
Transgressing
the Binary Space
at IFFK Deepak O Nair |
“Director is the one who moulds the actor”, said Dr. Biju,
the director of the film Valiya Chirakulla Pakshikal. He
was speaking in the Meet the Director programme held
in connection with IFFK 2015.The ultimate goal is, for
an actor to deliver the exact outpour of emotions that
director ideates. A motion picture becomes ideal when
the actor gets identified with that character and behaves
the role. The theme of the film is based on the life of the
well known photographer Madhuraj. “My film depicts
the real story of my own brother who was suffering from
mental illness”, said Kalpana Ariyawansa ,director of the
Sinhalese movie Dirty, Yellow,Darkness. He also said that
Srilankan movie industry is not as developed as the main
stream Indian film industry.
the folk background score helps the
spectators to relate to the nuances of the
guru-chela Hijra communities.
Transgenders require understanding
and support of the government, health-
care professionals, general public as
well as their family members. Trans-
men issues are further complicated as
they are least visible in our society. The
film screened in the capital city, the
same place where Mx Vidya flagged
of the Kerala Queer Pride- 2015,
served as Kerala’s token of respect and
consideration for the marginalized/
neglected gender community. There
may not be answers to many questions,
but the film is a powerful message that
no matter what preference one has
towards one's gender, they need to be
treated on par with everyone.
MEET THE DIRECTOR
4

5. “The right to decide what should be shown on the screen
fundamentally lies with the director, and it should be
unambiguous. Festivals like IFFK are unique in doing away with
the requirement of a censor board certificate to screen films,
meetTHEPress
PRESS MEET
12PM | Tagore Theatre
MEET THE DIRECTOR
3 PM | Tagore Theatre
OPEN FORUM
5 PM | Tagore Theatre
Inauguration: Adoor Gopalakrishnan
M S Sathyu, Jabbar Patel, Gireesh
Kasaravally, Kamal, B Ajithkumar
PANEL DISCUSSION
5 PM | Executive Launch, Mascot Hotel
Piracy and Original Creation
MASTER CLASS
6 PM | Executive Launch, Mascot Hotel
Mr Girish Kasaravalli -
My Idiom and My Perspectives
EVENTSTODAY
The primary purpose of a film festival is to create platforms for heating
debates on the topic like cultural and political issues” said Claire dobbin
in her lecture on Global Audience. The renowned Australian Scriptwriter and
Editor Claire Dobbin delivered the Aravindan Memorial lecture of IFFK 2015.
In her talk, she elaborated on the origin of film festivals and the crisis faced
by the festivals worldwide. According to Claire Dobbin, “film festivals play the
key role in bringing new and marginalized arts to the mainstream section”.
She began the lecture by introducing the history of film festivals like Venice
film festival, Cannes film festival, Berlin film festival etc. “The main factor that
makes film festival unique from other festivals is its commitment to the human
rights “says Claire. She also mentioned that there were lots of political issues
that caused several times the shutting down of major film festivals across the
world. Claire runs script workshops in Australia, New Zealand, Norway, Dubai,
India and Abu Dhabi and has been a guest lecturer at the Abu Dhabi film festival
and at Royal Holloway, London. In her 30minute long lecture she described the
recent trends that occurred in the film festivals. “The style of film culture is
evolved from the propagandic nature followed in the earlier periods and later
on it influenced the emergence of new innovations in its formation” opined
Claire in her lecture.
Film Festivals To Be Committed To Human Rights
ARAVINDANMEMORIALLECTURE
“
said Satheesh Babusenan, co-director of the movie Chayam
Pooshiya Veedu. He was speaking in the Press Meet programme
held in Tagore Theatre, as a part of IFFK 2015. Freedom of
expression should not be catered to any authority.
“The movies depict the mutuality of the interaction
and connection between the inner quest and inner life of
humanity”, opined Santhosh Babusenan. “As we were not able
togetthecensorcertificate,welostaperfectlygoodopportunity
to showcase the movie in Indian Panorama section of IFFI.” He,
too, attacked the present day working style of the censor board
severely.
“I grew up watching movies of Raj Kapoor and Dileep Kumar
which allured me to film making”, says Alkyn Kalykov, actor in
the Bopem. The younger generation get more opportunities
in Kazhakistan film industry, he added. Malayalam film maker
Kamal K.M. moderated the session.
Film Screening @
Manaveeyam Veedhi
6.30PM
Mudiyettu Tagore Premises
Time: 6.30PM
Portrait in a sea of lies
Dir: Carlos Gaviria
Spanish/colour/91’/Colombia/2010
07th
December 20155

6. Festival Director T Rajeevnath, Chaiman KSCA Chief Editor S Rajendran Nair, Secretary KSCA Editorial Board Chairman J Ajith Kumar
Convenor Renji Kuriakose Coordinator Jayanthi Narendranath Members Alex Vallikkunnam, CP Sree Harshan, Beena Khalam, Sajeev,
Anand Executive Editor Sadeesh Chalippadam Associate Editor Mammed Montage Assistant Editor TM Hisham Sub Editor Haris Nenmeni
Reporters Amala T Chacko, Jayasree C, Keerthana Mannayam Stills Ajay Saga, Shijin V K Design & Layout Shabeer M P Layout Assistant
Saeed Fasal Printing Akshara Offset, Thiruvananthapuram Editorial Support Haris Kormath
Printed & published by S Rajendran Nair, Secretary, Kerala State Chalachitra Academy, Thiruvananthapuram on behalf of
the Department of Cultural Affairs, Govt of Kerala.
Watching
Aleksandr Soku
rov’s Francofonia is
an experience that blends several
things: reading a book of thoughts,
browsing through an art museum,
all the while following the angst of
a filmmaker agonized by the twists
and turns of history, yet desperately
reaching out to it for succor.
Punctuated with the oft-interrupted
telephonic conversations between
Dirk, the captain of the ship carrying
art works across the ocean and the
filmmaker, the film is a journey
through a traumatic historic period
during World War II when Paris
was under German occupation.
The film unfolds through paintings,
photographs and musings on them,
historic tableaus, enactments of
certain key characters and archival
footages from the period. This
intricate yet exciting mix of various
strands create a very complex
cinematic narrative (if one could call
it that) where film becomes more of a
discourse-image, or a thought-image,
where the text, speech and image
mesh and collide with memory,
history and reflection.
This is akin to what Greenaway
argues cinema ought to be or aim
at. For him, “(Film) has so many
ways to portray its knowledge;
let’s create a primary, visually
alive, visually supporting, visually
autonomous phenomenon, which
everybody argued for … But in a
curious way, we’ve ended up with a
sort of boring bed-time-for-adults,
illustrated, third-rate novel, which
really is no way to support literature,
and certainly is no way to support
cinema.”
Films like that of Sokurov break
out of the prison house of linear
narratives that promise a definite
beginning-middle-end structure,
and in which all the questions and
problems thrown up by the narrative
aresolved,alllooseendstiedup,fixed
and done away with. The spectator
can leave the theatre, with his/her
slate clean, also, empty; his/her mind
back to rest, after the brief catharsis.
Films that disturb and challenge
such hegemonic narrative structures
revered as ‘realistic’ or ‘natural’ are
the ones that open our minds to new
possibilities of thought and connect
us to new modes of imagination.
Here, the foundations of linearities
and teleologies crumble, and you are
left in paths and alleys that you were
blind to; and you are left outside of
yourselves,butintimatelyclosetothe
agonies of the Other. If art heals and
frees, it is through such experiences
of liberation and abandon.
venkitycs@gmail.com
Breaking out of the Prison
House of Linear Narratives
CS Venkiteswaran |
Kattum Mazhayum (wind and rain)has
been rescheduled to 8th December in
New Screen 1 at 11:15am
Big father small father and other
stories will be screened on 8th
December in New screen 1 at 9:00pm.
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s‑s‑lt‑ej‑v
07th
December 20157

8. Partners Technical Partners
The20th
editionofIFFKistimelycatching
up with the new technological
advancements, and this time the
festival will screen a package of Three
Dimensional films. Unlike the earlier
editions which also screened 3D films
in previous years, this edition contains
a special section which is earmarked
solely for the 3D films. Six films of this
genre from across the world are going
to be screened under the category ‘3D
Experience’. “It makes things more
real, more intimate. You feel like you
are puppets inside a box, because it's a
rectangle with faces inside “ says Gasper
Noe , the director of the film The Love.
This creative innovation will surely hike
the audience appeal towards the festival.
Wolf Totem directed by Jean- Jacques
Annaud which was screened as the
opening film of the festival received
high ovation from the 3D film buffs.
The film is about the mysterious voyage
into the depth of nature and revelation
of the unique bond between man and
THE THIRD
DIMENSION OF
VISUAL REALITIES
Ajay Saga
nature. The other films in the package
are the Martian, Pan, Love, Life of Pi and
Everything Will Be Fine. The Martian is a
science fiction movie directed by Ridley
Scott. The film depicts the endeavour
and struggles of an astronaut who got
lost in the Mars during the mars mission.
Pan is another film in the package which
is directed by Joe Wright. It’s an action
adventure that follows the story of an
orphan who is spirited away to the
magical land, Neverland .The French film
Love, directed by Gasper Noe, is about
the conflicts and confusions taken place
in the mind of Murphy after he came to
know about the missing case of his ex-
girlfriend. The film was also screened
in the Cannes film festival, Toronto
international film festival and some other
prominent festivals. Ang Lee’s Life Of Pi
is the next film in this section which tells
the story about a young man’s incredible
survival at sea against the impossible
odds. Thefilmhadreceivedhighattention
when it was released in 2012 and bagged
several academic awards in its journey
forward. Everything Will Be Fine is the
last film in this category which is directed
by Wim Wenders. The film tells about the
struggle of a man in rebuilding his family
after a disaster and his journey in search
of forgiveness.
“There's something that 3D gives to
the picture that takes you into another
land and you stay there and it's a good
place to be”, opined by Martin Scorcese
director of Hugo and Good Fellas. The
three dimensional visual realities in the
package will surely offer the audience an
incomparable cinematic treat this time.
Daily Bulletin Team |
8