Last week, Chandni Sheth and I watched what was a highly anticipated movie given that I first researched and added it to my queue 3 years ago.
It may seem ironic to some and natural to others that my favorite political films are all either children's films or child-centric story lines. A Russian classic, 'Burnt by The Sun' is no exception.
Its name indicates the idea that one who gives us light and in whose shadows we prosper, could very well end up burning us. Despite the heavy philosophical concept, this Oscar winner enthralls with its lightness of being; by opening a window into a happy family enjoying on its 'Dacha' in the countryside and by giving goosebumps with the loveliest, tenderest father-daughter moments while story of grand hopes of bright prosperous future for the GenX of an entire nation (which may or may not come to fruition) looming in the background.
If you like politics that impacts entire generation (Think New Deal, Year Zero etc) and like to see the most twinkling little star on screen, then don't miss it. Until then, enjoy short clip.

If I were to recommend you to watch ‘Blame it on Fidel’ for a light, afternoon children’s fare, I would be spot on. Strangely, I would also be right if I were to claim that it is a subtle examination of political system and economic organization of our time. Yes, this contradiction and the film’s ability to pull it off with aplomb makes it a must-watch gem.

The film sets out to explore the turning of Anna and her brother, Francois’s life upside down in the midst of widespread political upheaval sweeping across continents and their very home.  Their parents are liberals hauled into the swirling political winds of 1970s France in part due to guilt of having ignored their social belief in order to build a comfortable life  of well-adorned home and manicured gardens. In an effort to right the wrong and embrace a new life of bohemian adventure and iconoclastic ideology, they start with gusto. But Anna is not so sure. 

Francois provides the much needed comic relief in this adorable tussle between the elder child and her parents. In the aftermath of one such battle, Anna storms out of the house hauling Francois (perhaps to save him from her parents) onto the streets of Paris. The lilting melody of those moments becomes the troubling memory of the film. Audiences will, at once, find themselves smiling at the girl’s fiery temperament and profoundly touched by the love between siblings.

The movie is particularly effective by not answering the very questions it poses. Anna does not simply accept her parent’s theories at face value. She resists, she prods, she questions before she embraces. Essentially, what begins as a journey to educate Anna on a certain ideology also ends up being a lesson for parents themselves. In the process, audiences are left delving deeper into their own minds wondering if they can differentiate between group solidarity and sheep mentality, if they always know when they are sure, if it is ok to simply throw crumbs at poor farmers and workers in the name of charity or do we need to bring fundamental change to right the wrong of generations past.

Although Baran is a love story at its heart, the movie is largely an intimate portrayal of daily routine of Afghan-Iranian workers at a construction site on the outskirts of Teheran. Although I am no connoisseur of cinema, I feel comfortable claiming that the film depicts, perhaps the most gorgeous shots of something as bland as a construction site. The success of eminent auteur, Majid Majidi lies in taking moments of natural, realistic candor between constructions workers and juxtaposing them with magical, lyrical moments of embryonic love. I hope art lovers don’t simply praise the film for its art form relegating the underlying immigrant stories and its social consequences to the back of their mind. That would be sheer waste of Majidi’s diligently crafted masterpiece. Migrant workers within India are in the millions, each with a unique story. Although few dedicated journalist have brought their emotions to the mainstream, it is rueful that their stories are only captured by a single Indian film maker in the largest and still burgeoning Indian film industry. Even if one were to consider only the angle of love story, it is sad that despite the deluge of films on love stories, hardly any Indian film weaves one with as much maturity as Baran does.
If you desire moments of ethereal beauty, go watch BARAN (Available on Netflix)
PS: The writer of this blog grew up in India and is writing with Indian audience in mind.

Encounters at the end of the world (EAEW) is a hypnotic film. It is a philosopher’s delight with sublime cinematography and otherworldly music. Those features are apt companion to the incredulous stories of the Antarctica’s residents.
To paraphrase one of the residents – All those living on the edge get thrown off the margins at some point and fall into Antarctica. It’s a movie about rebels without guns, iconoclasts armed with ideas and theories that are either simply quirky or ahead of their time. But the true trump card is Werner Herzog, the legendary German peddler of dreams. Herzog articulates his thoughts lucidly and his accent adds that tad bit of edge to his ideas. He questions our desire for quest, the impact of race to the top and does it all with a touch of class and enigma. None of his comments are direct or offensive but a lot is said between the lines in that acerbic tone. Although there is a sense of kinetic energy to the film with ample dose of guitar playing, shots of flags waving wildly in the arid landscape and scientists partying in the desert, but the film is primarily a meditative experience. Many minutes are spent in a surreal ice cave and swimming with seals in water holes under ice with lovely fusion music by Henry Kaiser , another heretic from the main land.
Encounters is about Antarctica but not about Penguins. It is a film that you don’t ever want to end. And why should it end after all? There is no arc to it. There is no high point or low drama. It is simply a series of observations. Relax and immerse in this top notch art.

If you ever wanted to be one with the environment, this film offers you a chance. Aptly titled, it embraces all the elements of nature during its 4 segments spread between 5 holy calls to prayer (Azaan).


A veritably gorgeous movie, it captures the doubts of childhood and images of splendid Anatolia all at once in several of its many resplendent moments. It unsettles you and leaves your hungry. Hungry for an arc, an ending, some sort of completion. But it offers none. It steadfastly remains a view into the early teen lives of 3 friends bustling with energy amidst adult brutality omnipresent all around them as they go about their daily chores and ends without a definitive confirmation. That absence of sermonizing is the magical, mystical aura of the film. It leaves things unsaid and open to interpretation. That does not mean it does not make a statement. In fact, it pack
s a punch on difficult social issues as varied as gender roles, generational gap and morality. Although it presents children’s hardships and troubles, it is not a pitiful sob story. Instead, it peppers the struggles with bewitching background score, enticing photography and light fun moments from the children’s daily sojourns around this remote mountain community.
The shots of children lying dispirited but in unison with their environment are haunting and the comprehensive 360 degree shot from and of the Minarat during Azaan will linger with audience forever.
Disclaimer: 

• If you are infected by fast paced Hollywood cinema bug, this slow meditation on life may not be your cup of tea.
• If you haven’t traveled to Turkey, watching this film will make you want to go at once. If you have visited, it is sure to stir desire for yet another soiree.

El Violin is a black and white musical treat with deep political implicationsEl Violin is not for the faint of heart. It’s a gem for those who love slow meditation on topics as varied as music and ambition.
A relative short length film imparting photo journalistic quality to its black and white frame, it packs a punch on conflict especially between haves and have-nots of Mexico. The lead actor is a hardy 80 year old musician first and an actor only by chance. His wrinkles are written with decades of experience that light up the screen with emotions. The narrative is primarily presented through interactions between 3 generations of peasant guerrillas and the army personnel with the beautiful Sierra Madre in the background. If you love any one subject from history, photography, music, peasant oppression, you will enjoy the film but if you love all these, the film is going to haunt you for a very long time. Look for a fine cinematic political statement when the old man explains to his grandson the source of conflict –
In the beginning of time , the ancient gods created the earth, the sky, fire, the wind and all the animals; Then they also created man and woman. They all lived in harmony, But one of those Gods was mischievous and he gave mankind envy and ambition. When the other gods found out, they punished the mischievous god.
Then they removed the ambitious people of the earth. But some of them were accident left behind. And then there were more and more and more, and they wanted to own everything. They deceived the good people and little by little, they took away what they owned, until they got everything. They drove them out of their forests. The good people felt that this was not fair. So they turned to the Gods for help. But the gods told them to fight on their own that their destiny was to fight. The ambitious people had become powerful so the good people decided to wait. and their land became dark and desolate.
and then?
Then, the good people returned to fight for their land and their forests because it belonged to them. Because their parents had made it for their children and the children of their children and that’s what we will do. We will go back. 
When will better times come?
Soon.
When?
One day you will know.