5 Features You Can’t Miss
- November 3, 2015
In case you aren’t aware by now, we’ve got a pretty great programme lined up for DIFF 2015. I mean, we’re not tying to boast or anything, but the films we have in store are so gob-smackingly brilliant that it’s going to be really tough to decide which ones to watch. Now, just to be clear, we love all our films equally, but there may be a few that you might unwittingly miss- either to sleep in or to enjoy an extended lunch (we’ve all been there, it’s understandable). But just so you don’t have any regrets from that siesta you took, here’s our list of features you shouldn’t miss at the festival:
How do you take your Saturday morning coffee? With a bit of cream and a lump of something sinister? We hope so, because Bhaskar Hazarika is taking over your morning with all the sorcery, terror, and mysticism of four Assamese folk tales, re-imagined and re-structured into a complex web of magic realism, with even darker undertones of reality. Prepare yourself for a spooky start to the day with Kothanodi at 11:00 AM, followed by a Q&A session with Hazarika.
Don’t miss: If you love getting goosebumps in darkened theatres.
For boiling pots of porridge and pregnant teenagers, Nguyen Hoang Diep’s Flapping in the Middle of Nowhere is far more than the girl-in-trouble narrative that we’re used to. With woozy camera work and a water-soaked palette, Diep represents the new wave of Vietnamese cinema, and we’re really excited that it’s made it’s way to Dharamshala!
Don’t miss: If you’d enjoy a daring, feminist take on an arguably hackneyed subject.
Things The Boy and The World has that will make you fall in love with it:
-characters speaking gibberish (actually backwards Portuguese)
-Brazilian hip hop
-criticisms of globalisation and capitalism
Don’t miss: If you understand that children’s films sometimes say more to the adults watching them.
The Tale of Iya is characterised by breathtaking frames of mountains in fog, snow, and spring. Shot in the now rare medium of 35mm film, the young Japanese director, Tetsuichiro Tsuta, tells the story of a detached rural village and its people. The film presents a clash between nature and modernity, against the backdrop of the eerie, untameable terrain that lends a sense of prehistory and timelessness to the characters’ lives. Tsuta will present his film and answer audience questions after the screening.
Don’t miss: If you want to be entranced by beautiful, haunting visuals -an elegy to wilderness.
Capturing the fear, paranoia, and violence of the 1980’s in India, Gurvinder Singh’s Chauthi Koot offers a glimpse into the rural Sikh community in Punjab, India. When asked about his unconventional directorial style, Singh replied, ‘Chauthi Koot is built on the foundations of Anhe Ghorey Da Daan for which I had rejected the idea of working with professional actors. In this one, I rejected even the idea of characterisation, conducting rehearsals or auditions. Your actor cannot be exactly like a character you’ve written.’ For more insights into Singh’s film, attend the screening and Q&A session.
Don’t miss: If you’re interested in the ways that the political becomes the personal.