Ashok Ashok with his winning poster
On the third day of the waves (World Audio Visual Entertainment Summit), recently Government The seminar held in Mumbai, I was excluded. Prime Minister Narendra Modi gave the inaugural address; Thenceforth, session on sessions – about cultural soft power, innovation and ‘Orange Economy’, how Netflix created 20,000 jobs through its local presentations in India.
Wandering around the huge Jio World Convention Center in BKC, which attracted my attention was a very simple item on the agenda: a film poster making competition. Out of one of the places, there were 10 hand -prepared pictures arranged on the portrait. The competition was co-accepted by the National Film Archive of India (NFAI) and Imagination, a Delhi-based art group that specializes in frescoes and murals paintings.
In the era of generative AI and off-painting studio Ghibali Trend, young participants-from various art and film institutions of India-were given to end their paintings. But I was most happy that he was the choice of the film which he was thrown away: Kundan Shah’s corrosive political satire Jane Bhi Do Yaro,
The irony was unnatural. From the early 1980s, a comic scaver of bureaucracy and chroni capitalism, four decades later, was celebrated in the heart of corporate Mumbai. Winner Entry-A Carese-Film of this dystopian imbalance and a 25-year-old art-directed student of the Television Institute of India (FTII) was done by Drainya Ashok. Born in Palakkad but brought to Polachi, Tamil Nadu, Ashoka studied architecture and later assisted in the art departments of Tamil films Demone colony (2015) and Naan Varuvian (2022). He saw Jane Bhi Do Yaro For the first time in the preparation of the competition – “It is very political and timeless!”
Ashok’s victory Jane Bhi Do Yaro Poster
third Eye
In Shah’s endless entertaining classic, two foppish but pencillas still played by photographers, Naseeruddin Shah and Ravi Baswani, stumbled at proof of a political murder. Their slapping sleeving comes against the background of a transforming Bombay, taking the roots of the concrete forest. In Ashok’s painting, an analog pentax camera is accompanied by a flyover, which bends a city out of size. From a distance, the camera resembles almost a surveillance drone.
“In the film school, we are taught that the camera is the third eye,” she says. “It can manipulate you, provoke you. Currently, monitoring is happening everywhere through CCTV … and at the age of AI, the camera can also control itself. It can choose what to see and where to see.” While many of the other entries literally interpreted the film, it is refusing retrofuturistic quality for Drishya’s painting that puts it into conversation with the present time.
Ashok list blade Runner, Solaris, Stocker And Capital As some of his favorite science-fi works. His relationship for style is not out of place with Shah’s legacy. In his book, Jaane bhi do yaaro: seriously fun since 1983Jai Arjun Singh told that the filmmaker wrote an unformed script in the late 70s. a detective storyWhich combines elements of ‘psychological thriller, social comment and science fiction’. This plot focuses on a dangerous ‘Wonder Drug’ that eliminates hunger.
I reached Binod Pradhan, cinematographer Jane Bhi Do YaroFor a comment on Ashok’s painting. “The first thing that killed me was a unique font of the title Jane Bhi Do YaroIt went well with the Dystopian world created by Drishya, “he shares.” It is very modern, when we were during the production of the film. Looks like images [they are] From the film, but as if [they] Was in the modern world. The camera that broke the bridge and two characters were strictly hanging on the cellulide film – as we want we are in real life as filmmakers. This is a stunning thoughtful layer in the poster! ,
Published – May 08, 2025 12:46 pm IST
