'A film is not all about the hero. He is part of the journey, yes, but there is a lot more to the story.' After Maheshinte Prathikaram, Fahadh Faasil is back with a bang!
A look at the winners of the 64th National awards.
'The film-literate public in Kerala are not happy watching run-of-the-mill movies.'
'Mahesh Bhavana is a young man who is beaten up in the town's marketplace and who consequently pledges that he won't wear his slippers again, till he avenges the beating.' 'But Mahesh can't get his revenge that easily -- his punisher is off to a distant land. So what does Mahesh do? He waits. And the town waits with him. And we wait with him.' 'Maheshinte Prathikaram is one of those movies where I didn't know what hit me. I don't remember another movie -- at least in recent times -- that I surrendered to with such happiness,' says Sreehari Nair.
A look at the seven Malayalam films that scored in the first half of 2016!
Which film are YOU looking forward to?
The latest updates from the Malayalam film industry.
The latest updates from the Malayalam film industry.
The latest updates from the Malayalam film industry.
The latest updates from the Malayalam film industry.
The latest updates from the Malayalam film industry.
A lowdown on what's happening in the Malayalam film industry.
Malayalam film audiences, who had spent close to two decades waiting for something truly interesting to watch at the movies, seem to be finally getting their due.
The reasons are too private to be discussed at a round table, listed out during a seminar, or uncovered in an academic course. A proud but insomniac connoisseur murmuring in his sleep may do a better job of explaining the phenomenon than an expert on a podium. Sreehari Nair airs his thoughts.
Joker, Thithi, Maheshinte Prathikaram and Pelli Choopulu bag the big awards of the night!
What follows is essentially a long scene set in a single location, and you watch in amazement as the scene grows into one of Indian cinema's funniest and most spectacular pieces of sustained craftsmanship, accumulating emotional power and subtext, growing wings and claws, becoming its own beast, applauds Sreehari Nair.
'I might in the future step out of a Dileesh Pothan movie not completely satisfied, but content I'll be in the knowledge that our greatest living film-maker had failed striving to be something more than just an auteur,' notes Sreehari Nair.
'2016 was the age of convenience for Hindi movies; of down pat effrontery and planned feeling triumphing over attempts to discern something complexly beautiful,' says Sreehari Nair.
'Movie plots clearly don't excite director Dileesh Pothan as much as true stories where life had come dizzyingly close to becoming like a movie and then, had fused back with life.' 'This means that a conversation he overhears at a tea shop is more likely to give Pothan a setting for his next picture than a brainstorming session inside a conference room,' says Sreehari Nair.
'Kumbalangi Nights is a movie that respects women, but most importantly, it's a movie that loves them,' says Sreehari Nair.
How do you even define a movie that primarily exists as an invitation to its audience -- an invitation to come and merely laze around with a set of interesting characters, asks Sreehari Nair.
Laali Ki Shaadi Mein Laaddoo Deewana is insipid, terribly made, and yet a Warm Enterprise, feels Sreehari Nair.
Every film that Sriram Raghavan makes is a compendium of ideas and sensations that tickle him. Trying to remake a Sriram Raghavan film is like getting excited by somebody else's goosebumps, observes Sreehari Nair.
Sreehari Nair presents his Top 20 movies of the decade.
If you think the film is gutsy, you are simply being blind to the truth that the whole men-are-worthless slant is saleable right now, argues Sreehari Nair.
All through Moothon, you can sense Mohandas trying hard to empathise with her characters; I just wish she was interested in them, declares Sreehari Nair.
With Joji, Dileesh Pothan has found a way, once more, to use everything he has learnt to further push the boundaries of his art, observes Sreehari Nair.
'If you can tell the quality of a movie-watching experience, only and only by referring to set standards, you *aren't really* going to the movies,' argues Sreehari Nair.
'Is there a connection between the way we pitched the entire issue of Udta Punjab's censorship and the apologetic, full-of-very-specific-answers tone of the movie?' 'Maybe it's just me, but as an Indian liberal, I am more scared of us liberals than I am of the average Indian conservative bloke,' says Sreehari Nair.
'In Angamaly Diaries, dreams, kinks, small corruptions, cheap lives, and hopes are all given their due and that attitude frees us up to believe that perhaps there is more good than bad in the sum total of us.' 'This is a coming-of-age tale taken straight out of a diary written in blood,' says Sreehari Nair.
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