‘Cinema Pay Cinema’ and ‘Swaha’: Stories of survival in habitte

As during the emergence of the cinemas converting into a battlefield Chorus Wave, we said how the behavior of the audience is affected in the outside world. Filmmaker Vani Subramanian’s latest documentary, Cinema PE Cinema: The Theater. Films. And what about us This ‘inside-outside’ discovers the conondrum. To appear at the Habitat Film Festival from 16 to 25 May, it begins as a memory-record of women and men whose life is touched by single-screen cinemas, but on the way, it wants to question who is “occupying ouraters.”

After being interested in the social architecture of the space for a long time, Vani says, “All places are political and complex. We talk about the front stall, middle stall and balcony, but it also means different sections of people.” Multiplex, she says, made this division more clear, “We are not comfortable sharing space with our home assistants and drivers.”

Cinema PE Cinema The single-screen celebrates the apathy of the theater, but also reminds us that it is a real place. “It is also a place where reality plays itself and reality is complex,” Vani says, remembering the environment charged during screening Kashmir files,

“I think an inner environment feels where people are always connected. Fourteen people were focused around the stay, as well as stress reflected inside theaters. If there was a concern in society about homosexuality, it found an expression in theaters during Deep Mehta’s time. Fire,

These days, Vani says, the connection is sharp. “It has now become a little more delicate place. If there is an increased nationalist spirit outside, then we see the examples of the audience that he beat a person who does not stand for the national anthem. If I was a Kashmiri Muslim, I don’t think I would not think that I will go to see. Kashmir files In a theater. ,

Still cinema from PE Cinema. Photo Credit: Special Arrangement

The film records the romance of a single-screen theater as a blank space of our collective happiness and catarsis; Boos and Wows that lightened the darkness. Wani says that she wants the youth to see what a shared public place is. “These days, our shared places are mostly virtual. We do not go to fairs; we rarely visit markets, as most of the utilities are distributed to our homes. I think, cuts the chances of understanding each other.”

He agrees that the kind of cinema that was dubbed by Liberal film critics, brought people from different classes under one roof. Taste tyranny pushed Sabaltern towards Bhojpuri and dubbed the downloaded cinema on mobile

In a country where Hindi imposes the fasting emotions, it is interesting to see Crown’s co-owners, which is a theater in Calicat, talking about learning Hindi through Bollywood films. It is to find out how the Hollywood globalized cultures have to find out that they get their roots in politics before liberalization policies.

Wani says that it is interesting to note how films follow demographics. Liberty cinema was established as a super-fancy theater to show Hindi films in Bombay, but it began to show during World War II when American soldiers were deployed in Bombay; When an English -speaking audience emerged, the English material was followed. ,

Similarly, she says that Hindi films chased in significant number when Marwar moved to Kerala. “There was already an audience among Muslims who understood Hindustani. Cinema is also about trade skills. This is the place where it finds an audience.” From Calicut to Lucknow, after stories and experiences, Wani is amazed at the choice of cities in which he shot.

Regarding the film’s visual aesthetics, Wani says he shot several single-screen theaters, with the Art Deco Interior Design. “There is a certain formality of space that we have tried to keep, even if we shoot in run-down theaters completely. For example, we have followed the same visual aesthetics during shooting in Liberty and Ashok, even if the latter is litter with jute sacks, scooters and motorbikes, as we wanted to incite the glory of space.”

Endangered, yes, but with the tendency of re -release to find traction, Wani feels, still expected to single screen.

Seasoned

Still from the film ‘Swah’ directed by Abhilash Sharma. Photo Credit: Special Arrangement

Abhilash Sharma’s deep reflective Swaha The focus on how poverty and caste discrimination affect the existence of a family. The blind striking experience ignores a remote Bihar village, where a daily bet goes to a nearby city to feed his wife and his newborn baby. While the father harasses an inhuman urban experience, the mother fights starvation. Considered as a witch, she struggles to feed her son, causing psychological chaos, which bothers the monochrome frame. As the story moves forward, his life inadvertently gets tied to a cremation worker, suffering from guilt after burning an anonymous body for a few rupees.

After seeing the short animation of Alan Baker, inspired by the concept of conflict between manufacturer and creation Animator vs. animation, Abhilash says that he further developed the idea by focusing on the relationship between a mother and her son. To deepen this concept, he aligned it with symbolic forms of the trinity of Hindu deities through the character of mother, father and cremation worker. “While editing the film, I realized that my extreme ambition is to address various forms of irrational fear and the circumstances that allow them to grow within a society.

Abhilash Sharma | Photo Credit: Special Arrangement

Addressing the mysterious and, many times, the sick visual design, Abhilash says that the story was carefully integrated to address both personal and collective fear, with social and economic undercontinent, night and animal shots. “Animal shots, although naturally harmless, are often interpreted incorrectly, causing a frightened feeling. I aims to highlight how such misunderstandings can splash in anarchy, where fear changes in fear, eventually manifested as a witch figure.”

Still from ‘Swah’. Photo Credit: Special Arrangement

Abhilash says that the decision to use Magahi emerged naturally, once he concentrated the story around the Musahar (SC) community, which represents her, harsh realities that he targeted to portray. “This community is mostly concentrated in the Gaya region, where the Magahi is widely spoken. Using their original language felt necessary for authenticity. Later, during the writing process, during the writing process, I also realized that my relationship with Magahi helped shape the dialogue, giving it a poetic rhythm while placing it on the ground in the dramatic moments of the film.”

Abhilash says that black and white aesthetics helped creating an unfamiliar world, challenging perceptions are often shaped by familiarity rather than rationalism or scientific idea. “Finally, I introduced the color as a symbolic representation of hope, suggesting that humanity ends, even in the most troubled conditions.