Bhubaneswar Film Festival, June 2024
Bhubaneswar Film Festival - An Exclusive Odia Film Festival
Bhubaneswar Film Festival (BFF) is an initiative to organise an exclusive Odia film festival scheduled to happen at Jayadev Bhawan, Bhubaneswar from 7th to 9th June 2024. A group of Odia filmmakers, technicians, writers and experts on Odia cinema, from different parts of India, have come together to organise this Film Festival at Bhubaneswar. Such an event has been missing from the landscape of Odia cinema for more than 2-3 decades. The idea is to gather a host of film personalities to foster interaction, craft ideas and possibilities for the industry, enable a wider audience to watch films – old classics and some award-winning new ones. BFF will screen all the three categories of cinema; (a) mainstream commercial cinema, (b) new wave or parallel cinema, and, (c) issue based socio-political films.
The BFF is designed to: (a) screen award-winning and internationally acclaimed Odia films across decades that didn’t get a chance to get released theatrically during their times; (b) create opportunities for interaction between film scholars, makers, experts, scribes and students; (c) create opportunities for budding Bollywood aspirants through facilitating interactions with eminent film personalities from Bombay cinema; (d) encourage and create opportunities for media and film studies students to participate and interact with experts and makers.
An important element of the festival is the launch of an edited volume on Odia cinema in English titled ‘Odia Cinema@90: Rhythms, Renditions and Reflections’. It picks out, in the tapestry of Odia cinema, the interwoven strands of society, culture, literature, creative – technical human resources and the audience immersion. The primary purpose of publishing this scholarly book is to enhance the availability and outreach of Odia cinema to a global audience. It is expected that such academic work on Odia cinema would not only strengthen film academics in Odisha but encourage an interdisciplinary approach to research on social science and cinema.
BFF also offers two masterclasses: one on film acting and the other on screenplay writing. Two eminent filmmakers from Mumbai have kindly agreed to spend some time with Bollywood aspirants on acting and screenplay writing. They are: Mukesh Chhabra, eminent Casting Director and Filmmaker who would be interacting with actors at 3 pm, 8th June at Gita Govinda Sadan, on everything relating to film acting opportunities in Bollywood – both cinema and OTT. He would be discussing on how to locate opportunities, reach out to the source and all that is required in terms of preparation. Mr. Amit Rai, famed director of OMG 2 would be taking a masterclass at 11 am, 9th June at Gita Govinda Sadan, on screenplay writing. That would involve story idea and stretching of the idea, preparing a storyboard, characterisation and so on. Both the masterclasses need prior registration as informed on our social media handles.
BFF expects the following Outcomes:
Since an exclusive Odia film festival is being organised after ages, it is expected to generate interest for Odia cinema, old classics and award-winning films in particular. There is also an expectation that festival of such a nature can revive the much-needed interest of Odia middle class on Odia cinema.
Secondly, there is an expectation that the festival would be useful for film study students and budding actors and filmmakers. Besides, a scholarly volume like Odia Cinema@90 is most likely to motivate film scholars to further academic research and writings on Odia cinema, something that Odia cinema needs for its necessary intellectual growth. Last but not the least, we sincerely hope that such a festival will motivate the state government to prioritise the development of film sector in Odisha.
Maya Miriga (The Mirage, 120 minutes, 1984)
Director: Nirad Mahapatra
A traditional middle-class family - a school head master, his wife, their four sons and their children- in a small Orissa town. The obviously quiet joint family has tensions within. The head-master realizes the changing moods and forces responsible for pulling every one apart.
Maya Miriga which is, by turns, an unfortunate family story told more in sadness than anger, or an incisive critique of contemporary mores and methods. Starkly told, the film, however, relies on a lyrical poignancy, which is never allowed to turn unduly sentimental.
Chha Mana Atha Guntha (Six Acres and a Third, 140 minutes, 1986)
Director: Parbati Ghose
Based on esteemed Odia author Fakirmohan Senapati's classic novel Chha Mana Atha Guntha," adopts a new narrative, structured around two independent segments that develop towards the same intersecting destiny to offer an absolutely unique venture. It presents Ramachandra Mangaraj, the unscrupulous Zamindar, wielding complete reach and total control overall living in Govindpur, his dominion. Champa, his maid, a compulsive flirt, and Govinda, his barber/servant, also live with him. Mangaraj's wife, the quintessential suffering woman, stands in contrast to him. She performs the role of Mangaraj's ever present alter-ego, constantly cautioning him against his self destructive misdeeds.
On the other extreme it also presents the household of a weaver couple Bhagia & Saria. Their existence depends on a flourishing plot of land, measuring six acres and eight gunths.
Bhija Matira Swarga (Wet Haven, 80 minutes, 2018)
Director: Manmohan Mahapatra
Set against the backdrop of a remote village in Odisha, the film gradually unravels the hopes, despair, attitudes and motivations of the character, linking their behavior to the social totality of which they are a part.
Sakuntala, a widow, is worried about her son Aru, who is in search of a job. She thinks of getting him married as soon he gets a job. Smita, who lives in the same village, has an affair with Aru. She too hopes as soon as Aru gets on appointment, his mother could send a marriage proposal to her parents.
Aru learning about Smita’s marriage finalization elsewhere, sends a moving voice mail, in which among other things mentions that perhaps what happened had to happen, but then life won’t stop….
Hello Aarsi (97 minutes, 2018)
Director: Sambit Mohanty
Synopsis: The sudden industrialization and large-scale mining activities in central-eastern India in the twenty-first century have significantly impacted the socioeconomic fabric of a society previously dependent on agriculture.
Against this backdrop, a young man and a young woman coincidentally cross paths, both searching for their respective identities. Their journey commences within a car on an ever-expanding road. The moving car becomes a temporary sanctuary, a home away from the real home that no longer exists. However, the road itself transforms into a path riddled with lies and betrayal. Both characters yearn for freedom
Remembering Promod Pati (30 minutes)
Pramod Pati’s Explorer (1968), which was produced by the Films Division of India (FDI). The subjects of the film seem like they are madly in search of something, and this is echoed in the camera’s relentless movement and refusal to stay at any one particular image. The film visualises the innermost recesses of the mind of the youth of the 1960s as they search for meaning. Yet its circular structure highlights how this is always out of reach. In its style and structure, the film invents a form that mirrors the frenzy of the youth, where the filmmaker refuses to capture a stable image, and instead, shaky, dizzying, hypnotic and trance-like sequences follow.
Ahalya (The Words of Silence, 84minutes, 1999)
Director: Bijay Ketan Mishra
"Ahalya" paints a portrait of the enduring suffering of Indian women. Ironically, it is often fellow women who enforce the oppressive codes that govern their lives. Ahalya, however, embodies silent resilience in the face of this societal structure. The film's protagonist draws inspiration from the mythological figure of Ahalya, who led a cursed life. She was turned into stone and suffered until being liberated by Lord Rama's touch. However, the modern-day Ahalya finds no such redemption until her death.
Dhauli Express (150 minutes, 2007)
Director: Chitta Ranjan Tripathy
Dhauli Express revolves around the lives of Dibakar Das, a Postman, and his son Dhauli Das. Since the boy was born on the day when the train Dhauli Express commenced its first journey, connecting Odisha to Kolkata, he is named after the train. This train comes to represent the dreams and aspirations of a large number of people including Dibakar Das who see the train as a symbol of progress and upward mobility. Dhauli Express portrays the contemporary youth whose aspiration, when not supported by his family due to problems of poverty & unemployment, joins the bad world of crime for financial prosperity.
Tara (132 minutes, 1992)
Director: Bijaya Jena
The daughter of a poor priest living in a remote village, is sold off as a bride to an apparently well off stranger, SHYAMACHARAN, who lives in a distant town. Shyamacharan, a practicing Tantrik initiates Tara into the rites of Tantrism, who pursues it seriously and evolves spiritually
His tantric powers fascinate her, but when he goes astray. She leaves him, only to discover that there is no straight man anywhere in the world. She retreats into a world of her own and he worships her, as the all-powerful ‘Devi’. When she does not save him from the police, he simply whips out a knife and kills her – his ‘Devi’.
Shuka Asuchi (Shuka Returns, 121 minutes, 2014)
Director: Sanjoy Patnaik
Shuka Asuchi focuses on the plights of the people living in the mining areas of Odisha. The film is made against the backdrop of the large-scale illegal mining scenario in the state and the issues of displacement. The film’s story urges the viewer to think about the illusory divide between the rich and the poor, and the invisible conflict among the poor who suffer endlessly. The film puts focus on the power of social mobilisation. Through this 121-minute film, the maker wants the world to know about the common battle, in which poor and marginalized people fight and get wounded everyday.
Jianta Bhoota (The Living Ghost, 90 minutes, 2008)
Director: Prashant Nanda
Singari, a young girl from the Dongaria K0ndh tribe of Odisha and Bangru from the same tribe intend to get married by customary elopement. If the boy leaves the girl’s hand while eloping, he has to pay dowry. When Bangru’s father is killed by a tiger, he leaves Sangari’s hand. Consequently, the couple has to work as bonded labour to pay the dowry loan. Further complications arise when the Sahukar implicates Bangru in a court case.
Shunya Swaroopa (The Contours of the Void, 100 minutes, 1996)
Director: Himanshu Khatua
Bikash is a monk who has been living in an ashram for twelve years. His guru and he set out on a journey to the outside world. When they reach his home village, the Guru advises Bikas to take alms from his mother. The mother was never reconciled to the idea of a monk son.
Malati, who had always been in love with Bikas, is at home with his mother, and refuses to give alms to him. The guru and Bikas proceed to the city. The rush of the city drives Bikas insane and he flees to his village. Malati finds him unconscious on her doorstep. Upon waking up, Bikas and Malati are seized with desire for each other.
Riddled with a sense of guilt, Bikas returns to the monastery. There he is refused the higher order and advised to return home. In the village, Bikas finds Malati's and his own house deserted. Bikas has to proceed with another journey.
Sala Budhar Badla (The Revenge of the Stupid Old Man, 108 minutes, 2020)
Director: Sabyasachi Mohapatra
Sala Budhar Badla” is a hard-hitting lesson on love and revenge. The film is a depiction of intricate human emotions and relationships, highlighting the values of a human heart when it is most needed amongst all the chaos, confusion, and anger within our society today. An entertaining treat for all age groups.A depiction of intricate human emotions and relationships, highlighting the values of a human heart when it is most needed amongst all the chaos, confusion, and anger within our society today
Shesha Drushti (The Last Vision, 125 minutes, 1997)
Director: Apurba Kishor Bir
A K Bir's Oriya film Shesha Drushti, which deals with the disillusionment of a dying freedom fighter who has to bribe a government official to get his son a job.
Shesha Drushti is a psychological family drama about the relationship between a father and a son who hold different perspectives about life. Kedar Babu, a freedom fighter since the days of Gandhi's call for the Civil Disobedience Movement, has now in 1970 settled down in his native village, still carrying the pain from a wound he received during the freedom struggle. His son, Sangram has completed his post-graduate studies, but the only way he can get a job is through his father's influence, which is a blow to his self-respect. The father, who symbolizes the past, denotes the nature of freedom through introspection. The son represents the present and views the prevailing atmosphere based on some practical observations. When the experiences of the old and the young meet and interact, they converge on to a point of doubt, dream and suspense in order to envisage a new vision, which only appears when the elder is in his death bed
Moksha (Salvation, 80 minutes, 1995)
Directors: Malay Ray and Gouri Shankar Dash
Moksha is the story of Noori Das and Soshi, a widow cut between the crossfires of life and death, hope and despair, pains and little pleasures of life.
Cruel strokes of inexorable fate leaves them alone under the same thatched roof pitted against each other in a relational imbroglio, where the traditional age old social customs prohibit them from coming closer to each other physically, but their intrinsic human sensitivities, the common cord of suffering pain and compulsions of man and women relationships goads them closer and closer emotionally.
The intrinsic struggle of human beings to transcend the powerful emotional compulsions to attain higher level of spirituality is in essence the story of Moksha, the eternal liberation.
Malajanha (The Dying Moon, 140 minutes, 1965)
Director: Nitai Palit
Sati, the female protagonist of Malajanha, is married off at a very young age to an elderly but wealthy widower, even though she is secretly attracted to a young man from her village, Natha. After marriage, she faces untold humiliation and neglect and must deal with the fact that her husband has an affair with a female domestic help of the house. Due to her aversion for her husband, she does not allow him to consummate the marriage. Once, when on an outing to a village fair, she is separated from her marital family and runs into her old friend Natha. When they make their way back to her husband’s house, he casts aspersions on her honour and refuses to accept her back.
Both finally leave the village and escape to Cuttack town. The conservative neighbors question their relationship. Sati, unable to bear the scandal concerning her and Natha, finally commits suicide by jumping into the river. Malajanha reflects the tension between modernity and tradition through depicting the conflicts faced by Sati