Clyde Fans. Seth. 2019.
via Tumblr https://ift.tt/35aPCen
Clyde Fans. Seth. 2019.
27 Down. Avtar Kaul. 1974.
New York Mon Amour. Jacques Tardi. 2012.
Rusty Brown. Chris Ware. 2019. A day in life of intersecting lives.
George Sprott. Seth. 2009. A citizen Kane like structure about the life of a tv show host. Through reminiscences, landscapes and architecture.
The Bread Factory. Parts 1 and 2. Patrick Wang. 2018.
In which a local arts programme run by the aging lesbian couple faces extinction because of the Chinese conceptual artists who move in next door to hog the arts funding. Extraordinarily beautiful.
Once upon a time in Hollywood. Quentin Tarantino. 2019.
Alt-history as homage. Loving. Gentle. Surprisingly so. Long languorous sequences of life playing itself out interspersed with references too obscure for most of us.
Protest (at Azad Maidan)
Blind Spots. Reena Saini Kallat. (at Chemould Prescott Road)
Rainbow Station (at Churchgate railway station)
Brad Paisley Thinks He’s Special. Abc tv.
The Cove. Louie Psihoyos. 2009.
Concerned white people go undercover like Hollywood with infra-red cameras, skin tight diving suits and American accents, to fight evil Japanese fishermen and government in order save cute dolphins from capture and slaughter- after all we saw them save people on television shows.
Bobby. Raj Kapoor. 1973.
Aagantuk. The stranger. Satyajit Ray. 1991.
In his final film Ray gets the upper caste intellectual to out-intellectualise the Bengali bhadralok by becoming the medium through which the idealised purity of the barbaric primitive serves to redeem them from their suspicion and conservatism. At the end the Santhals wearing matching clothes and tribal-dancing in formation like they did on Doordarshan perform exclusively for the middle class family that watches along with us.
Atlantics. Mati Diop. 2019. When the developer of a monstrous tower in Dakar does not pay the workers for their labour, they leave for Spain across the sea only to drown in a wave. They return to haunt the women they leave behind. Beautiful. Recommended watching on Netflix.
Ad Astra. James Gray. 2019. The emptiness of space is a reliable metaphor for the psychological daddy issues that keep the astronaut from falling in love. Since in every American film it must be heterosexual romantic love that can signify the return to the norm for the hero.
Aquarela. Victor Kossakovsky. 2018.
U2 playing it both ways in their ‘Herstory’ section. Rana Ayub and Smriti Irani. (at DY Patil Stadium)
Pre Concert U2 (at DY Patil Stadium)
The Joshua Tree Concert. U2. (at DY Patil Stadium)
The Seventh Son of the Sun. Suraj Ka Sattva Ghoda. Shyam Benegal. 1992. Stories inside stories like in Ghulam Sheikh paintings that include unrequited thwarted betrayed loves and lives
I Lost My Body. Jeremy Clapton. 2019. The memories and longings of phantom body of a disembodied hand.
Pre Annual Audience (at KRVIA)
GU05. Peter Strickland. 2019.
Iconography (at Kalpana Cinema)
Duvidha. Mani Kaul. 1973. Duvidha. Mani Kaul. 1973.
Freeze frames, gestures and flattened perspectives of miniature paintings with a voiceover that might be text accompanying a folio.
Human Flow. Ai Weiwei. 2017.
Refugee, Migrant are all rolled in one, as are Mexico, Afghanistan, Iraq; along with Greece, France, Germany. (An)aestheticised drone shots, aerial views, barbed wire, staring faces, talking heads, walls, wiki-like bullet point politics interspersed with pseudo-profound poetic texts on screen… until all stories become background for the performance art of the so-sensitive artiste.. he cares so much.
Mario. Marcel Gisler. 2018. Footballers fall in love. One chooses fame. The other freedom.
Diamintino. Gabriel Abrantes, Daniel Schmidt. 2018. Unbelievably naive football star who sees fluffy puppy dogs is being cloned for his talent, an unfortunate side effect of which is that he is growing breasts. Meanwhile, he is being duped by both his evil sisters who bully him into submission; and his adopted refugee son who is in reality a lesbian undercover agent with whom (s)he lives happily ever after. #
Houses of Goa (at Fontainhas)
St Sebastian’s Chapel (at Fontainhas)
Our Lady of the Immaculate Conception Church (at Our Lady of the Immaculate Conception Church, Goa)
Cottage Industries (?!) (at Panjim, Goa, India)
CBD. Panjim Modern. (at Panjim, Goa, India)
Bridge. Creek. (at Fontainhas)
Central Library. Gerard Da Cunha (at Panjim, Goa, India)
Panjim Modern (at Fontainhas)
The Fountain of Fountainhas (at Fontainhas)
Lovely Villa at the Goa College of Architecture. (at Altinho)
Goa College of Architecture. (at Panjim, Goa, India)
‘Nostalgia for the Future’ and ‘Lovely Villa- Architecture as Autobiography’ our films on modernity, architecture and identity will be screened as part of the
‘ Modernism in India - Through the National Institute of Design Archive’ Exhibition is to be held at Museo Cabanas, Guadalajara, Mexico https://ift.tt/2DL3NLX
from November 22, 2019 – February 28, 2020.
The exhibition “Modernism in India - Through the National Institute of Design Archives" will trace the advent of modernism in India through the history, modernist ideology, architecture, pedagogical structure, national projects and associations of the National Institute of Design.
The screenings will take place in the Cinema Hall inside the Museum and will be open to the public on Wednesday/ Thursday and Friday of each week (except winter break December 16 – January 4th)
Naseem. Saeed Akhtar Mirza. 1995. Requiem for a secular nation. A grandfather remembers happier days. The country heads towards the Babri Masjid demolition.
The Irishman. Martin Scorsese. 2019
Loose Woman. Maya Krishna Rao. (at G5A Foundation for Contemporary Culture - Official)
Walking on Soul City. Sudhir Patwardhan. Curated by Nancy Adjania. (at National Gallery of Modern Art, Mumbai, INDIA)
Children’s Museum. RMA Architects. (at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya)
India and Netherlands in the Age of Rembrandt. (at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya)
Book Worm. Nuru Karim. (at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya)