We are same, same but different
3 Aug 2012 7:47 AM IST
When four directors representing Asian film diaspora, whose films are being screened under Asian and Arab competition section, got together for a chat with the audience on Wednesday at the 12th Osians-Cinefan film festival, they agreed on two things. That Asian films are getting a stronger voice and that filmmaking is affected by one’s own culture and history. For Wu Quan, the Chinese filmmaker, who treated the Osian audience with his stylised black and white Sentimental Animal, even the soundtrack of the films reflect the cultural background of the filmmaker.
But Yoshimas Ishibashi, the Japanese filmmaker, stressed that despite these differences, ‘art’ could transcend borders. Perhaps, that is why Ishibashi insists on creating what he claims a ‘visual imagery’. His film Milocrorze: A Love Story, apparently, is his call to the youngsters to ‘fall in love’ with life.
The film, which has no linear storytelling, says the director, goes about making its point in a loopy, surreal kind of way. The idea is to sort of test the fine divide between art and film.
Jet Leyco, the Filipino director, apparently, treasures platforms like Osians as these give both the directors and the audience a chance to experience the ‘culture of others’. His film Ex Press, he said, is an attempt to look beyond the ‘poverty point’ outlook of most Filipino films. We are taken on a ride on board the Bicol Express, a commuter railway line that, we are informed, runs between Manila and Naga in the Philippines.
As for Deepak Rauniyar, the Nepali filmmaker, who had to breakthrough Bollywood influence in Nepal, it has always been difficult to create ‘our own kind of movies’. He is understandably happy that Osians has recognised his effort to be different. His film, Highway, reflects on a common problem in Nepal – bandh.
The winner of the Asian and Arab Competition Film will be screened on 5 August at Siri Fort at 10 pm.
But Yoshimas Ishibashi, the Japanese filmmaker, stressed that despite these differences, ‘art’ could transcend borders. Perhaps, that is why Ishibashi insists on creating what he claims a ‘visual imagery’. His film Milocrorze: A Love Story, apparently, is his call to the youngsters to ‘fall in love’ with life.
The film, which has no linear storytelling, says the director, goes about making its point in a loopy, surreal kind of way. The idea is to sort of test the fine divide between art and film.
Jet Leyco, the Filipino director, apparently, treasures platforms like Osians as these give both the directors and the audience a chance to experience the ‘culture of others’. His film Ex Press, he said, is an attempt to look beyond the ‘poverty point’ outlook of most Filipino films. We are taken on a ride on board the Bicol Express, a commuter railway line that, we are informed, runs between Manila and Naga in the Philippines.
As for Deepak Rauniyar, the Nepali filmmaker, who had to breakthrough Bollywood influence in Nepal, it has always been difficult to create ‘our own kind of movies’. He is understandably happy that Osians has recognised his effort to be different. His film, Highway, reflects on a common problem in Nepal – bandh.
The winner of the Asian and Arab Competition Film will be screened on 5 August at Siri Fort at 10 pm.
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