In By-lanes, I narrate experiences of the
Serpentine journey, full of detours, diversions, tangents, and
by-lanes. Name inspired by the song By-lanes by friend Lueit Parasar.
Check: https://soundcloud.com/adimachine/
After two long years of long void, finally this year Osians film fest 2012 was held. As an obssessive fan since 2006, i made a lot of grand plans this year. Of live blogging, daily online critique of films, personal narratives, viewpoints etc. And even editing my shamble of a film 'After Paris' and giving it for the shorts. But with the Serpentine Lords of Rahu Ketu, its always serpentine deviations from the expected objective. Thus what took place was far from the objective/ critcal schedule i had planned. Instead a visceral/subjective/ highly personal experience unfolded. With the Serpentine Lords of Saturn Rahu Ketu, it's always almost opposite of what's planned. So here I am in the post orgasmic chill, the severe hangover of the festival, mulling over. At the end of a wild, tempestous and brief romance. Chewing the cud that i hastily swallowed. In 10 eventful days. Of Osians 2012.
The first film I saw was Yeralti (Inside) by Zeki Demirkubuz, from Turkey. Suddenly my childhood friend B*** was before my eyes. The perfect EPITOME of Ketu energies!! He was cerebral, hypersensitive, overzealous, idealistic, sentimental. At odds with the changing mores of kaliyuga. Far from the politically correct metrosexual modern dude. And had bouts of iconoclastic behaviour in the most inappropriate social gatherings. The film seemed to explain his very existence. I called my friend painter Kareem, similarly ruled by Ketu energies, who was vastly similar. Told him, the films was on him. He cursed me but saw it. Liked it.
The next remarkable film I saw was Sentimental Animal by Wu Quan, from China. Few years back, me and my wife had gone for Nadi palm leaf/ past life readings at Qutab enclave, katwaria sarai. My wife Sangeeta's previous life seemed to be in China. and her husband was paralytic. but she took good care of him. the dark, grayish, hypnotic, nebulous, hazy, shades of Sentimental Animal seemed to manifest a past life predeliction in great cinematographic detail. Even the hair detail of the actress was same as my wife. the second time i saw without subtitles. Just the pure cinematic form.
Women on Edge by Masahiro Kobayashi, from Japan, captured the very essence of Hecate. The three witches, the fair maiden, the mother earth, the old crone. Three archetypes captured accurately. We saw it sitting cramped, on the carpet of the crammed Siri 4, audi. Worth every hair tingling frame. The divine, insane, hormonal, disbalance of the Shakti archetype.
Shame, that I saw The Smell of Curry and Rice, by Satoshi Yamaguchi, from Japan almost all alone at Blue frog. Maybe the world of mankind was NOT yet ready to be exposed to its infantile , filial obsession with food/ women/ domestication/ entrapment. Maybe the juvenille male illusion, "she cooks good like mother. she is good" is still there to stay. and hold womenkind in disguised enslavement. Sadly with me its reversed. my mom was working, maid cooked horrible. So filialy, mother, women and good food are very different things for me. So i thoroughly enjoyed the sarcasm of this film.!!
Stateless Things by Kim Kyung Mook, from South Korea was one of the darkest movies i saw on migration, urban struggle, displacement. Unimaginably horrifying, cathartic, morbid, it expressed some of my own struggle/ displacement in Delhi. but in a far more acute and horrifying imagery. With Ketu, you see it, its negated. Neccesary, vaccination/ cathartic purgation to survive in this urban jungle. I came to this festival to understand. Not enjoy.
The Road by Yam Laranas, from Phillipines was one of the most brilliantly crafted horror contemporary movies. Its Shutter/Ring/ Grudge/ Curse/ Black water rolled into one. But MUCH More. I actually had to take out my asthalin spray in the vastly spacious, crowded siri Fort 1. Horror on ,many levels. Unlimited layers till the last frame!!! I wanted to congratulate Yam Laranas, but he was overcrowded with extra brilliant people giving him suggestions. First, make a 1/ 105th horror film like him, guys. Then comment.
I'm tired now. So many more. but these were the visceral best. in my personal, subjective, visceral, nightmarish, subterranean experience in Osians Cinefan, 20102. I think the Turtle, the symbol of the Osians Award was perfectly (signifying the amphibious, underwater, Kurma avatar, the subterranean realms this years Osians Cinefan Festival brought to us. From the mainstream highway of commercial fare, a subterranean, Serpentine by-lane into another realm.. worth every visceral moment..
After two long years of long void, finally this year Osians film fest 2012 was held. As an obssessive fan since 2006, i made a lot of grand plans this year. Of live blogging, daily online critique of films, personal narratives, viewpoints etc. And even editing my shamble of a film 'After Paris' and giving it for the shorts. But with the Serpentine Lords of Rahu Ketu, its always serpentine deviations from the expected objective. Thus what took place was far from the objective/ critcal schedule i had planned. Instead a visceral/subjective/ highly personal experience unfolded. With the Serpentine Lords of Saturn Rahu Ketu, it's always almost opposite of what's planned. So here I am in the post orgasmic chill, the severe hangover of the festival, mulling over. At the end of a wild, tempestous and brief romance. Chewing the cud that i hastily swallowed. In 10 eventful days. Of Osians 2012.
The first film I saw was Yeralti (Inside) by Zeki Demirkubuz, from Turkey. Suddenly my childhood friend B*** was before my eyes. The perfect EPITOME of Ketu energies!! He was cerebral, hypersensitive, overzealous, idealistic, sentimental. At odds with the changing mores of kaliyuga. Far from the politically correct metrosexual modern dude. And had bouts of iconoclastic behaviour in the most inappropriate social gatherings. The film seemed to explain his very existence. I called my friend painter Kareem, similarly ruled by Ketu energies, who was vastly similar. Told him, the films was on him. He cursed me but saw it. Liked it.
The next remarkable film I saw was Sentimental Animal by Wu Quan, from China. Few years back, me and my wife had gone for Nadi palm leaf/ past life readings at Qutab enclave, katwaria sarai. My wife Sangeeta's previous life seemed to be in China. and her husband was paralytic. but she took good care of him. the dark, grayish, hypnotic, nebulous, hazy, shades of Sentimental Animal seemed to manifest a past life predeliction in great cinematographic detail. Even the hair detail of the actress was same as my wife. the second time i saw without subtitles. Just the pure cinematic form.
Women on Edge by Masahiro Kobayashi, from Japan, captured the very essence of Hecate. The three witches, the fair maiden, the mother earth, the old crone. Three archetypes captured accurately. We saw it sitting cramped, on the carpet of the crammed Siri 4, audi. Worth every hair tingling frame. The divine, insane, hormonal, disbalance of the Shakti archetype.
Shame, that I saw The Smell of Curry and Rice, by Satoshi Yamaguchi, from Japan almost all alone at Blue frog. Maybe the world of mankind was NOT yet ready to be exposed to its infantile , filial obsession with food/ women/ domestication/ entrapment. Maybe the juvenille male illusion, "she cooks good like mother. she is good" is still there to stay. and hold womenkind in disguised enslavement. Sadly with me its reversed. my mom was working, maid cooked horrible. So filialy, mother, women and good food are very different things for me. So i thoroughly enjoyed the sarcasm of this film.!!
Stateless Things by Kim Kyung Mook, from South Korea was one of the darkest movies i saw on migration, urban struggle, displacement. Unimaginably horrifying, cathartic, morbid, it expressed some of my own struggle/ displacement in Delhi. but in a far more acute and horrifying imagery. With Ketu, you see it, its negated. Neccesary, vaccination/ cathartic purgation to survive in this urban jungle. I came to this festival to understand. Not enjoy.
The Road by Yam Laranas, from Phillipines was one of the most brilliantly crafted horror contemporary movies. Its Shutter/Ring/ Grudge/ Curse/ Black water rolled into one. But MUCH More. I actually had to take out my asthalin spray in the vastly spacious, crowded siri Fort 1. Horror on ,many levels. Unlimited layers till the last frame!!! I wanted to congratulate Yam Laranas, but he was overcrowded with extra brilliant people giving him suggestions. First, make a 1/ 105th horror film like him, guys. Then comment.
I'm tired now. So many more. but these were the visceral best. in my personal, subjective, visceral, nightmarish, subterranean experience in Osians Cinefan, 20102. I think the Turtle, the symbol of the Osians Award was perfectly (signifying the amphibious, underwater, Kurma avatar, the subterranean realms this years Osians Cinefan Festival brought to us. From the mainstream highway of commercial fare, a subterranean, Serpentine by-lane into another realm.. worth every visceral moment..
Waiting to read about Mekong Hotel and Piranha review...Those were as good/better than all other.
ReplyDeleteI am going to dedicate separate posts to The Road, Mekong Hotel and Consuming Spirits. All very serpentine, bizzare, Ketu films..
DeleteHi Adim, thank you for the kind words. I sincerely appreciate your thoughts on my film.
ReplyDeleteI am from the Philippines by the way ;-)
best,
Yam
Phillipines? okay am correcting it in my post now.
DeleteYam, I was planning to e mail you. You me gave your card when you rushed into the bus. i wanted to give you some feedback about your film. But with Ketu, its always erratic/ serpentine. You were overcrowded with fans TRYING to give you TIPS about your film!! how ironic/ preposterous! Today, i'll briefly give you some feedback about your film. But will soon dedicated a separate post on the spiritual dimensions of your film. In this post i just want to discuss why your film is one of the excellent examples of Horror mastercraft at it's finest. Firstly, like you yourself said, deliberate avoidance of special effects. Ocne SFX comes in, we become of the reality as 'extra'- ordinary. But without it, it CLOSER/ creepier to home. TOO close to our reality. Second is my favourite parameter, CONTRAST. Before horror unfolds, theres always a (false) contrast of ordinary, domestic, typical daily mundane backdrop. EVERYTIME its that ordinariness that reveals a ghastly horror underneath. Be it, when three naive teenagers escape with a car for some mischief. Or two elegant sisters, out on a ride. Or a strict, bossy mommy scolding the servant girl. Or a shy, small innocent boy. Or award winning conscientious cop. Or a servile, religious overtolerant husband. The Contrasts are not in character BUT also in treatment. When the beautiful domestic help appears for the first time, she appears a divine angel straight out of heaven. You've cleverly tweaked the exposure to hi exposure heavenly illuminance. Dark hell follows shortly after. :P. in the two sisters out in their ride, the film is magical, sepia type. Like a scene out of a classic novel. hence, CONTRAST is there, in every segment of your film. Hence Horor works EVERYTIME. at the end, I was just waiting. When will this nightmare END!! i had missed out the Horror masterclass of James hart, guy who wrote my favourite film Coppola's Dracula. But Lord Ketu, made it up to me, many times over by making me experience Horror Mastercraft at its purest/ finest. your film, The Road. Breathlessly horrifying. Yam, IT will NOT be easy to live UPTO the Road, in your next upcoming film. You outdid yourself! Cheers! Jai Ketu!
ReplyDeleteAwesome article Sir.... I,m still living in the Osian-thought...
ReplyDeleteyes, there is no doubt that "the road" is the best horror movie ever I have seen... the way that story was woven, is just outstanding... Moreover Adim sir's reactions was itself a horror film at that point... he was closing his eyes, ears and i was trying to remove his hands from his ears (though i was unsuccessful)... that 2hrs was really different while watching two different parallel horror films (on screen and off screen both)... :P
DeleteHa Ha! Horror both off screen and on screen! well said, moumita. A 5D film.!!!
Deletewe all are Moumita!!
ReplyDeleteCoincidentally, in Delhi, on the last day, I happened to visit a book stall and pick up a magazine... Motherland issue on Ghost stories http://www.motherlandmagazine.com/.
ReplyDeleteMy Osian's trans is yet not over as these stories are haunting me every night. Remembering 'Road' on each turn.
Thank you so much Adim. I wish I had more time in Delhi and showed the film to more audiences. I am just glad that you appreciated it and I am very glad that you did. Cheers!
ReplyDelete