Carol (Niharica Raizada) and Kabir (Rohan Gandotra) in The Perfect Murder (2019)
Love triangles are never
easy – especially when there’s a murder involved. The Perfect Murder (Chandirramani, 2019) tells the story of Kabir
(Rohan Gandotra), his wife Neha (Samvedna Suwalka), and his lover Carol (Niharica
Raizada). I recently had the pleasure of
interviewing the writer, director, producer, and editor of The Perfect Murder, Vikkramm Chandirramani.
Miranda Sprouse: Tell us about your short film, The Perfect Murder.
Vikkramm Chandirramani: The Perfect Murder is an eighteen-minute urban crime drama. It crossed 1.5 million views on YouTube earlier this week. It has been very well received. I was awarded Best Director of a Short Foreign Language Film at the South Europe International Film Festival, held in Valencia, Spain, on May 12. I had attended the festival to receive the award. It was also awarded Best Dramatic Film at the NCCC Film and Animation Festival, held in Buffalo, NY, by the Niagara County Community College. Additionally, it was screened at the Ninth Ridgewood Guild International Film Festival, New Jersey, and the Sixth Firenze FilmCorti Film Festival held in Florence, Italy.
I was in Valencia, Spain,
for the South Europe International Film Festival and it was a fantastic
experience. There were filmmakers from all over – from the US, Bulgaria,
London, Japan, and so many countries. They had an eclectic pick of films and
the energy was amazing. What makes it even more delightful is when people who
do not understand Hindi or who have never seen a Bollywood film connect to my
films. They screened my film twice because some people who had not seen it the
first time requested it. The festival’s director Steve Grossmith is a film
connoisseur. It was overall a very memorable trip.
Central framing presents a precise image of the male hero. Drive (FilmDistrict, 2011)
Film Matters: Please tell us about your article that is being
published in Film Matters.
James Doyle: My article is a study of the precise image of
masculinity that is portrayed in Drive
(Nicolas Winding Refn, 2011), and of how this image is presented to the
audience through the visual design of the film. Drive questions what it means to be a “real” man in a distinctly
American context, using the archetype of the outlaw hero to explore the idea of
identity, and of masculinity, as something that is never fully occupied, and
always subject to changes in meaning. My article focuses on how this idea is explored
through the visual design of the film–the cinematography, production design,
and costume design.
Posted inInterviews|Comments Off on James Doyle, Author of FM 9.3 (2018) Article “‘A Real Human Being & a Real Hero’: Masculinity, Liminality, & Design in Nicolas Winding Refn’s Drive”
If you are a current instructor of film (graduate student, tenured/tenure-track professor, adjunct, etc.) at an institution of higher education, then please think about providing this valuable service to Film Matters and recognizing the dedicated work of an emerging film scholar, as well as his/her mentor and academic department.
All authors whose articles were published in 9.1, 9.2, and 9.3 of Film Matters as the result of an external CFP and peer-review process automatically qualify for consideration. Twenty-three authors from volume 9 are eligible, representing the following institutions:
Arcadia University
Bond University
Carleton College
Falmouth University
Institute of Art, Design + Technology
Ithaca College
Johns Hopkins University
Keene State College
Martin Methodist College
Messiah College
Miami University
Monash University
New York University
Northumbria University
The Ohio State University
University of California, Berkeley
University of Maryland
University of North Carolina Wilmington (2)
University of Passau
University of Pennsylvania
University of Warwick
Wheaton College
Please email Liza Palmer (futurefilmscholars AT gmail.com) as soon as possible, indicating your interest in serving as a judge. Materials and policies/procedures will be provided to the judging board once it is populated. And the board, as a group, will decide whether they want to work anonymously or not.
Thanks, in advance, for your support and promotion of this award, which celebrates not only young film scholars, but also Masoud Yazdani of Intellect.
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A shot of the Facebook Messenger conversation between Sujata (Vee Kumari) and Premila (Sonal Shah) in Halwa (2018)
Halwa (Bhakta, Bajpai, 2018) is the story of Sujata (played by Vee Kumari) as she reaches out to an old friend over social media following the death of her friend’s spouse. I had the chance to interview the co-directors, -editors, and -writers of the film: Nirav Bhakta and Gayatri Bajpai.
Miranda Sprouse: Tell us about your short film, Halwa.
Nirav Bhakta and Gayatri Bajpai: Halwa is
the story of an older Indian immigrant woman re-discovering love and her sense
of self. On the eve of her wedding anniversary, empty-nester Sujata Chopra
attempts to find some joy in her broken marriage, until she learns about the
passing of her childhood companion’s spouse over Facebook. Having been
disconnected from this woman for over thirty years over a misunderstanding,
Sujata finds the courage to reach out to send her condolences. They reconnect,
sparking friction when Sujata’s controlling husband, Dr. Chopra, finds out.
Premutos: Der gefallene Engel (IMAS Filmproduktion, 1997)
Film Matters: Please tell us about your article that is being
published in Film Matters.
Matthew Cohen: “Gorehounds: Reconsidering the Study of
Splatter Narrativity” attempts to activate a field of splatter studies through
the application of narratology to gore films. This is accomplished through an
analysis of the “gorehound,” a specialized horror fan that privileges gory
special effects over traditional narrative content in splatter cinema.
Sexual assault is an
incredibly dark topic that many tend to avoid as much as possible. Others,
however, want to bring more awareness. Fairytale
(Hershko, 2019) follows the story of Verity (played by Verity East), a young
girl who finds herself being treated more as an object than an actual person. She
suffers from countless acts of sexual assault and abuse, and the film depicts
her journey to find a place where she is safe and at peace. Eli Hershko
directed, produced, edited, and wrote the film Fairytale. I was fortunate to have the opportunity to discuss the
film with Hershko.
Miranda Sprouse: Tell us about your film, Fairytale.
Eli Hershko:
Fairytale is a very dark, unscripted
film that deals with sexual assault at its core. This film was shot with no
budget ($15k) over the course of eight days in NYC and Long Island with a
skeleton crew of twelve people… Now, when I say unscripted, I mean that, usually,
traditional films will have a ninety-to-one-hundred-ten-page script that will
have a storyline, characters, and all dialogue. The director and the production
will follow the script in order to tell the story and, depending on the
director, at times, he or she might deviate from the script but mostly the
script is the blueprint to the movie. Fairytale
did not have a script. I was seduced by the idea of shooting a totally
improvised film as a way of telling a story because of the fact that I was
hoping to capture a process I noticed taking place in my previous films… What
do I mean by that?
I’ll try to explain: for
my first feature film – Carl(a) — I
wrote about a transgender love story and, in order to write this film, I
researched the subject for a whole year before I sat down and wrote the ninety-five-page
script. Now, in my opinion, in order for a movie to reach its audience, the
viewer has to believe the characters; so, in order to achieve this layer of
realism, when I completed the script, I then proceeded to sit down with each
and every one of my cast and rewrite their dialogue with them in order to
create a well-familiar “skin” for them, so they will be at ease and feel as
natural as they can as far as dialogue goes.
Upon completing the re-writes,
we spent about a month rehearsing and then went on to shoot the film. I noticed
that because I was so rehearsed at times, when we got to set and the scene “DID
NOT” work while shooting, which is a common thing really, I was at a loss. So I
took that experience with me when I moved to my second feature film. For this
one I wrote a one-hundred-ten-page script but did not rehearse at all and told
the actors to prepare on their own. When we got to set, I encouraged the actors
to get “off book” and try to say my lines in their own words. Now, because I
allowed actors to get “off book,” a lot of “HAPPY ACCIDENTS” happened on set,
where unexpected moments would develop that were not included in the script and
I ended up using them in the final edit and that was the seed that was planted
in my head; so when I started thinking of putting together Fairytale, I decided to shoot a feature film composed in its
entirety of “HAPPY ACCIDENTS,” and the film will sort of UNFOLD in front of us.
I knew it was a very
risky endeavor and that the movie can become very “artistic” in nature and
“aloft” to the point it can be drifting off and not make sense; so in order to
ground the story up and force it and the audience to a cohesive idea, I decided
that the movie, at its core, needed to be a dark and violent movie; so I summon
up the courage and decided to do a movie that deals with sexual assault, being
that I am a survivor of one myself.
The Girl with Brains in Her Feet (Lexington Films, 1997)
Film Matters: Please tell us about your
article that is being published in Film Matters.
Lauren Ekene Nwenwu: My article is on how (black/white) mixed-race identity is represented in contemporary British films as existing outside the limiting, socially constructed paradigms of black and white identity: not as simply a combination of both, but with its own qualities of representational value. This is not to say that mixed-race struggles and experiences are harder or more difficult than black experiences, just that they can be different. It’s about how this concept started to change from its degrading and caricatured beginnings, coming to fruition in British films during the 1990s, using one film in particular – The Girl with Brains in Her Feet – to demonstrate this. Despite the film’s concerns with racial identity, when released in 1997 it was denied classification as a “black film” by its makers, leaving it floating in the ether of films on social struggle in British cinema. The author of the original source material expressed frustration with this decision, and how the subject matter was perhaps too ahead of its time for marketers to understand. It appears that because the film was venturing a look at a non-stereotypical third generation black British experience, it was too confusing for distributors to categorize. The Girl with Brains in Her Feet is a “British identity” film – which are very often typified as being intrinsically white narratives – as well as being a “black film,” sat between a color divide in more ways than one. When released, the film’s misinterpretation led to muted branding, and lack of consideration for a ground-breaking depiction of a neglected, marginalized experience. Consequentially it is almost unknown, and excluded from seminal lists about British films about race, limited to cursory mentions if any, in black British film archives.
Posted inInterviews|Comments Off on Lauren Ekene Nwenwu, Author of FM 9.2 (2018) Article “Mixed-Race Identity, Ambiguity, and Displacement in The Girl with Brains in Her Feet: The Complex Underrepresented Nature of Mixed-Race Identity in Nineties British Cinema”
Film Matters is seeking current undergraduate students to review a few Criterion releases for us. The available items are listed below:
Criterions (if a title has TAKEN by it, it has already been claimed):
1984 Blu-ray (Radford, 1984) — TAKEN
Japón Blu-ray (Reygadas, 2002) — TAKEN
Magnificent Obsession Blu-ray (Sirk, 1954) — TAKEN
To Sleep with Anger Blu-ray (Burnett, 1990) — TAKEN
Wanda Blu-ray (Loden, 1970) — TAKEN
Students interested in this opportunity should email a brief statement of interest to Liza (futurefilmscholars AT gmail.com), indicating your preferred selection, as well as your name, affiliation, and any relevant qualifications for reviewing a specific title (like past coursework, etc.).
Priority will be given to emails received before September 15, 2019.
Students who are selected for this opportunity will receive a review copy of the item in exchange for the completed review.
Deadlines for reviews to be submitted to Liza will be December 1, 2019.
This is an excellent way to build experience and CVs and we look forward to hearing from you!
Posted inCalls|Comments Off on Call for Undergraduate Reviewers
Leigh Smith (left) as James and Jesse Everett (right) as Blake in Sacrifice (2018)
Sacrifice
(Maguire, 2018) captures the love story between James (Leigh Smith) and Blake
(Jesse Everett) as Blake prepares for his next military assignment. When the
story takes an unexpected turn, it becomes clear how even in the darkest times,
we must hold on to love. I recently had the pleasure of interviewing Leigh
Smith (writer, actor) and Jesse Everett (actor) about their film.
Miranda Sprouse: Tell us about your short film, Sacrifice.
Leigh Smith:
Sacrifice follows the story of James
Hunter and Blake Robinson, two lovers who are entering a new phase within their
relationship but who also struggle to make this work within the constraints of
their demanding careers. Blake, being in the military, also brings uncertainty
and risk to their relationship each time he is taken away from James on duty. Sacrifice is a story of love and all
that is gained and lost in its name.
Jesse Everett: Sacrifice
is a beautifully written story following the lives of two characters and their
struggle for lasting love. It is a journey of love, heartbreak, and, as per the
title, sacrifice all from a perspective not shown in the industry, making it a
uniquely profound short film.
Taika Waititi, Elizabeth Olsen, and Tessa Thompson in Avengers: Endgame (Walt Disney Pictures, 2019)
Warning: Review contains mild spoilers for Avengers: Endgame based only on trailers and promotional materials. This review also contains full spoilers for Avengers: Infinity War.
Well, we are finally here. After twenty-one films spanning eleven years, Avengers: Endgame (Joe and Anthony Russo, 2019) is finally upon us, released on April 26, 2019. Looking back to Iron Man (Jon Favreau, 2008), it’s hard to believe how big of an impact one film has had on starting the legacy we now know today. If you time-traveled back to 2008 and told Jon Favreau that Iron Man would be the beginning of a set of twenty-two interconnecting films that have represented a generation of blockbuster filmmaking, I’m sure even he would tell you it’s unbelievable if not impossible. Iron Man not only began a new era of comic book films but also gave us stories for everyone to enjoy and fall in love with. From the civil rights roots of Black Panther (Ryan Coogler, 2018) to the teen-movie aesthetic of Spider-Man: Homecoming (Jon Watts, 2017), the depth and progression of the Marvel Cinematic Universe (MCU) have evolved into something truly legendary. The MCU has not only redefined genre films and blockbuster filmmaking as a whole but has created cinematic memories that will be remembered forever. Whether its Captain America trying to lift Thor’s hammer in Avengers: Age of Ultron (Joss Whedon, 2015), Thanos’s snap from Avengers: Infinity War (Joe and Anthony Russo, 2018), or Tony Stark saying “I Am Iron Man” for the first time in Iron Man, these moments, characters, and memories are forever embedded in pop culture and the minds of audiences everywhere. This is what Avengers: Endgame showcases. By focusing on the binding moments of the past eleven years, Avengers: Endgame reminds audiences that we, as much as these characters, are family. Avengers: Endgame is an excellent film that ensures on not being a continuation of Infinity War but rather a film to perpetuate and explore the main reason why the MCU is so special; the characters and the everlasting memories themselves.