Updated: November 26, 2020 1:00:30 p.m.
Last year, many scoffed when Zoya Akhtar’s boyfriend Gululi was nominated for India’s official Oscar nomination for Best International Feature Film. The Ranveer Singh-Alia Bhatt combination for an ambitious rapper from Mumbai’s Neja Dagar was an incredible success, okay, and the creators and his worst crews could not hide their jubilee. But did he have the right recipe to shorten it to the most coveted shindig awards in the film world? As expected, the film was out of the race for a short time. That year rightly belonged to Bong onun-ho, who was already a rock star in his native South Korea, but not as well known in the West, except for movie addicts like Quentin Tarantino, who stumbled forever on Planet BJH. In other words, the extremely entertaining but eerie dystopian world created by onon-ho to mark his vision of everything that’s wrong with our society has finally received the attention it deserves abroad. In other words, other words: Parasite at the time of agaya. This year, India is shooting for some blood. Buffalo blood, if you will. India’s official selection for Best International Feature Film at the 93rd Academy Awards, the ally of Leo Jose Pelisseri, is an incredible hit by Malaimal who denies a strong statement against violence against people.
The film follows a buffalo that grabbed a village in Kerala, escaped the knife of butcher Varki (Chamban Vinod Jose) and landed directly in the hot fire. Rough and sweaty village men and their hair-raising machismo (note the opening scene and staccato shots of male eyes) may belong to Spaghetti Sergio Leone, but here they enjoy black humor (discussing food for sexual details, stalking women or chase the animal in a primitive way) and help with hair-raising visuals and dazzling sound design that have become the hallmark of Leo Jose Pelisseri. Through the metaphor of a primary animal, something Bong onon-ho did with the enchanting Okya or Umesh Vinayak Kulkarni did with the marathon film Valu from 2008, although in a lighter sense, Pelisserie seems to blur the line between man and astwer, between violence. and innocence and what finally says our kind-hearted cruelty to be human. The animal, it can be said with certainty, wanders outside and looks better. Explaining the germ of the film, Pelisseri told the film’s companion: “The idea of the disappearance of the space between animal and human excited me.”
Nights of Hollywood
Pelisserie, 42, has been called a seeker of new voice and creative energy in the Malaylam film industry. Pelisserie’s own breakthrough, the Angamali Diary, tore a page from the diary of a youthful small town, and became unnecessarily known for its disposable code, earning comparisons to the epic gangster epic Goodfellas. What explains Pelisserie’s passion for extremely fantastic climaxes? His last, Ea. Ma Yau is characterized by a surreal, finished like Bergman, with the protagonist slipping into the afterlife, while the latest footage of the alliculate leads you first to the dark cave of human corruption.
Lately, cinemalam cinema has been enjoying a bit of a renaissance. Ea Ma Yao is a key part of this cultural moment. Titles such as the Ustad Hotel, the Nights of Kumbalangi, the Days of Bangalore, Premam, Sudan of Nigeria and Oulu that helped break down the language barrier and managed to migrate to parts of India that speak Hindi, thanks to OTT platforms, film festivals and by mouth. Before that, there was the unconventional Kamati Paadam who breathed new life into the dying genre and the exciting Drishiam, titled superstar (Mohanlal) who plays the most unusual ordinary man who wants to go to unimaginable lengths to protect his daughter from falling behind bars. In Kerala itself, these films could boast of big names (Fahad Faasil, Pratviraj, Nivin Poli, Sai Palavi, Dalker Salman, Mohanlal). Few people know them and their little stones outside their national and regional borders, but their significant content and out-of-box access is eavesdropping on new audiences even as monolithic Bollywood loses its plot. Would it be wrong to suggest that Hindi movies are stuck in an impossible cycle of summer blockbusters, mindless sequels and a crippling star-studded system – tangled and chained by their own myth? While Bollywood is non-pathological, believe me, Bollywood is more realistic and better, focusing on the plot and its possibilities and on the stars who are versatile and ready and willing to break the mold. They may have clay feet, but unlike their Bollywood counterparts, they reserve it to sculpt and sharpen their work.
What else is so special about regional cinema? Why did the Hollywood nights replace the Bollywood nights? We can respond to that by paying for what is special about the Pelisserie cinema. Pelisserie is a fan of the New Wave Hollywood, which also includes such influences as Rajev Ravi, Aashik Abu, Dalker Salman, Anjali Menon, Sachi, Fahad Faisal, Pratviraj, Nivin Pouli and many others. In his seven films to date, starting with Najakan since 2010, Pelisseri has created an aesthetics factory that mixes art film credits with mainstream. On screen, he nonchalantly combines his Christian upbringing and images with a sense of local idiom and human behavior filled with cunning humor, fantastic situations, and extraordinary visuals. In his previous film, the great farce of death Ea.Ma.Yau, he gave new meaning and grandeur to the funeral of Latin Catholics, while The Diary of Angamalia wowed critics with its brutal beauty, rebellious boy and ganglong bravura. It was a time when Pelisserie would cross borders to become more famous outside of Kerala. The Oscar-winning alliance can help, even more so if it wins. In broad daylight and cold-blooded, amen.
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