Director School Edu. Kashmir Consideration list of eligible trained graduate / post graduate teachers for promotion as Masters
Dated: 6-2-23
For Consideration list of eligible trained graduate / post graduate teachers for promotion as Masters click link below:
Consideration list of eligible trained graduate / post graduate teachers for promotion as Masters
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Tehran: Iranian award-winning director, Jafar Panahi, who has been imprisoned in Tehran for six months, announced that he has begun a hunger strike to protest the authorities’ refusal to release him on bail pending a retrial.
The note from Jafar Panahi, starting of his hunger strike, was published on the Instagram page of his wife, Tahereh Saeedi.
In the note, prominent Iranian director emphasized, “I categorically declare in protest against the extra-legal and inhuman behavior of the judicial and security apparatus and their hostage-taking, I have started hunger strike from the morning of the February 1, 2023. I refused to eat and drink any food and medicine until I was released.”
“I will remain in this situation until maybe my lifeless body is released from prison,” he added.
Panahi also wrote in his note, “According to the law, I should have been released on bail after accepting my request for a retrial, but my case has been adjourned for more than 100 days.”
“While we have seen that it takes less than 30 days from the time of arrest to the hanging of the innocent youth of our country, it took more than 100 days to transfer my case to the branch with the intervention of security forces.”
“What is certain is that the violent and illegal behaviour of the security institution and the reckless surrender of the judiciary once again shows the implementation of selective and tasteful laws.”
“It is only an excuse for repression. I knew that the judicial system and the security institutions have no will to implement the law (which they brag about), but out of respect for my lawyers and friends, I went through all the legal channels to fight for my rights.”
“Today, like many people trapped in Iran, I have no choice but to protest against these inhumane behaviours with my dearest possession, that is, my life.”
62-year-old Jafar Panahi, Iranian film director, screenwriter, and film editor, was arrested on July 11, 2022, when he went to the prosecutor’s office to follow up on the situation of another filmmaker, Mohammad Rasoulof.
Panahi was also arrested in 2010, after his support for anti-government protests. He was later convicted of “propaganda against the regime”, sentenced to six years of imprisonment and banned from directing or writing films, Mehr News Agency reported.
Panahi’s arrest was met with a wave of domestic and international condemnation, but the Islamic Republic has not responded to requests for his release.
Thousands of film personalities have been arrested in Iran as part of the crackdown on protests that erupted after the death of Mahsa Amini, who was arrested on suspicion of violating the country’s strict dress code.
The protests involved people from all walks of life and different sects in Iran after Amini’s killing.
Iranian women are at the fore in the demonstrations, in which many young people participate, to chants of “Woman life freedom” and “Death to the dictator.”
The protests represent one of the country’s boldest challenges since the 1979 revolution.
Delhi: Renowned Telugu filmmaker Kalatapasvi K Viswanath passed away at his residence on Thursday at the age of 92 from age-related ailments
Former Vice President M Venkaiah Naidu on Friday expressed grief at the demise of the Padmashri and Dadasaheb Phalke winner and stated the renowned film director brought depth and dignity to the medium, earning global recognition for his movies.
Telangana Chief Minister K Chandrasekhar Rao expressed his condolences over the death of Viswanath, who is famed for films like ‘Sankarabharanam’, ‘Sagara Sangamam’, ‘Swathi Muthyam’ and ‘Swarna Kamalam.’
“Viswanath was a rare distinguished film director who chose an ordinary story and turned it into a classic movie on the silver screen with his amazing talent,” he was quoted as saying in a statement from the Chief Minister’s Office.
KCR also recalled a discussion between Viswanath and him on movies, music and literature when he visited the ailing noted director’s home.
Andhra Pradesh Chief Minister Y S Jagan Mohan Reddy, in a tweet, expressed his grief over the filmmaker’s demise and stated he was “a mirror of Telugu culture and Indian arts.”
“Vishwanath is a mirror of Telugu culture and Indian arts. Films under his direction have brought unparalleled respect to the Telugu film industry. He will remain forever in the hearts of Telugu people as an artist,” Reddy said.
Former Vice-President M Venkaiah Naidu said in a tweet, “Deeply grieved to hear of the demise of renowned film director, Sri K. Viswanath. As a filmmaker, he brought depth and dignity to the medium earning global recognition for his movies with a message. May his atma attain sadgati! Om shanti!”
Viswanath was undergoing treatment for age-related illnesses at a private hospital in Hyderabad and passed away yesterday.
Telugu cinema megastar, Chiranjeevi Konidela also took to Twitter to express grief over the demise of the filmmaker, who has directed over 50 films in Telugu, Hindi and Tamil.
“Shocked beyond words! Shri K Viswanath’s loss is an irreplaceable void to Indian / Telugu Cinema and to me personally! Man of numerous iconic, timeless films! The Legend Will Live on! Om Shanti !!,” Chiranjeevi said in a tweet.
The film director, screenwriter and actor is recipient of five National Film Awards, seven state Nandi Awards, ten Filmfare Awards South, and a Filmfare Award in Hindi.
In 1992, he was awarded the Padma Shri and in 2017, the Central government presented him with Dadasaheb Phalke Award, the highest award in Indian cinema.
After a short stint as a sound engineer, he began his filmmaking career under filmmaker Adurthi Subba Rao and eventually went on to work as an assistant director on 1951 Telugu film Pathala Bhairavi.
His 1985 Telugu film “Swathimuthyam” starring Kamal Hassan was India’s official entry for Best Foreign Language film at the 59 th Academy Awards.
Viswanath began his career as an audiographer for Vauhini Studios in Chennai and made his entry into film direction at Annapurna Pictures under filmmaker Adurthi Subba Rao and K. Ramnoth. In 1965 he made his debut as a director with Telugu film ‘Aatma Gowravam’.
Viswanath made his Bollywood debut with 1979 film Sargam, which is a remake of his 1976 Siri Siri Muvva. Some of his other popular Hindi films include Kaamchor, Shubh Kaamna, Jaag Utha Insan, Sanjog, Eeshwar and Dhanwaan.
In 1995, Viswanath debuted as an actor with Telugu film Subha Sankalpam. Viswanath had also acted in a television serials ‘Siva Narayana Teertha’, ‘Chellamay’ , ‘Suryiavamsam’ and has appeared in several television commercials.
Born on February 19, 1930, in Guntur district of Andhra Pradesh, Viswanath is survived by his wife and three children.
SRINAGAR: To nurture an entrepreneurial spirit and innovative thinking among youth, Jammu and Kashmir entrepreneurship development institute (JKEDI) today organized a day-long entrepreneurship awareness programme (EAP) in coordination with Himalayan Degree College at Rajouri.
Ajaz Ahmad Bhat, Director, JKEDI attended the event as the chief guest. He is on a tour to twin border districts of Rajouri and Poonch.
In his address, he commended the initiative of Himalayan Degree College, Rajouri for imbibing a spirit of leadership among the students. “This spirit acts as a guiding philosophy for the holistic development of students,” the director said, discussing his experience of the overall entrepreneurial scene in J&K.
With a special emphasis on his tenure in the Industries and Commerce Department and Horticulture Department, he spoke about the learning he gained from his service career. He elucidated how the various policies of the UT Government have encouraged the spirit of entrepreneurship.
He added that the need of the hour was to generate consciousness among parents to foster entrepreneurship culture in children.
The Director also enumerated the benefits of the term loan scheme under National Minorities Development and Finance Corporation (NMDFC) and how this initiative of the Government is generating self-employment amongst the minority community. “There is no dearth of innovation and initiative among the youth of J&K. They should set up entrepreneurial ventures rather than wait for government jobs. A focus should be placed on the creation of enterprises that make use of locally available raw materials. Unemployment is a serious challenge for all of us and only entrepreneurship is the way forward,” he added.
The gathering was also informed that the Government is revising the Guidelines of J&K Startup Policy in order to make it more startup-friendly. “This will boost the startup ecosystem of the UT and will help the innovators and aspiring entrepreneurs in J&K. We need a robust startup ecosystem in the UT. We have to nurture the innovation and passion of our youth in a positive direction. The Government is committed to this goal,” said Ajaz Ahmad Bhat.
The Director further added that the Institute was in the process of starting short-term courses in entrepreneurship for school and college students. The aim behind starting such courses was to enable young minds to develop an entrepreneurial mindset at an early stage and equip them to counter the challenges of building a new venture. In the coming days the Institute is releasing a compendium of various entrepreneurship and self-employment related schemes. This will be a great help for the youth of the UT and will enable them to make informed career choices.
The Director thanked Himalayan Education Mission Society for their cooperation and support to make this event successful. He directed all the District Nodal Officers of the Institute to provide free counselling in their office and display telephone numbers so that people can reach out and start a profitable venture. In addition to this, two model counselling control rooms have been established at the regional campuses of Pampore and Jammu.
Dr. Mehraj Ud Din Bhat and Vishal Ray, senior faculty members of JKEDI gave an overview of how to start a new business. They also gave a presentation highlighting the prerequisites to becoming a successful entrepreneur. Hundreds of aspiring entrepreneurs and students attended the event. Mohammad Muslim Wani, Chairman, Himalayan Degree College, Rajouri, Arif Ahmad Khan, Communications Officer, JKEDI, Sheikh Nowsheen, District Nodal Officer, JKEDI Rajouri, Adil Rasool, Manager Estates, JKEDI and Showkat Ahmad, Social Worker, were also present on the occasion.
Morbi: The Gujarat police on Friday submitted a 1,262-page charge sheet in the Morbi bridge collapse case and named Oreva Group director Jaysukh Patel as prime accused.
Rajkot range Inspector General of Police Ashok Yadav told media that the charge sheet is filed against 10 accused, of which nine are arrested while the director is absconding.
Officer said managers Deepak Parekh, Dinesh Dave, three security guards, two ticket clerks and as many private contract workers have been arrested and are in judicial custody.
Patel has moved anticipatory bail application.
Major allegation against Oreva group is that without proper fitness certificate whether the suspension bridge is fit for public or not, the company opened it for visitors.
Nagarpalika said: “We have not issued any fitness certificate to the company, and it has also not informed us that it is opening the suspension bridge for visitors.”
Promotes 350 employees of Health Department to next Grade; terms it as gift on auspicious occasion
Srinagar, Jan 26 (GNS): The 74th Republic Day was today celebrated across all the hospitals in Kashmir with patriotic fervor with the main function held at Swastha Bhawan in Bemina, Srinagar.
Director Health Services Kashmir, Dr. Mushtaq Ahmed Rather unfurled the National flag at the function that was attended by scores of health employees and officers of the department.
The Director extended his greetings to all and wished everyone a happy and prosperous Republic Day.
He stressed upon the employees to work with utmost zeal and dedication, for providing accessible and affordable health care services to the people, which is a dream of free India.
The Director also distributed promotion orders among 350 employees, which he termed as a gift to employees on this auspicious occasion. The employees hailed the move of the director and expressed gratitude for fulfilling their long pending demand.
Pertinently, these promotions were done after 15 years.(GNS)
Simon Stone does things differently. As a young director he was described as the enfant terrible of Australian theatre. He’s 38 years old now so no longer an “enfant”, while his reputation has spread far beyond Australia and beyond theatre, too, into film and opera. But a few days before interviewing him, I overhear two members of his latest ensemble discussing how disconcerting it is to work with him. They’ve not experienced anything like it, they say. They’re never quite sure when rehearsals will begin, because he spends every morning writing that day’s scenes.
Can this really be any more than an excuse for being a chronic oversleeper, I ask, when we meet after his sixth day of rehearsals for his version of Phaedra at the National Theatre. He laughs and says that this very morning he was up early writing with his five-month-old daughter on his knee. “And she kept just sort of typing, with me having to correct the typos that she was making.” The point, he adds, is not to put actors on the spot, but to enable them to collaborate in the creation of the text from day to day through their improvisations in the rehearsal room.
It’s not that he’s writing a new play, but as anyone lucky enough to have seen his electrifying production of Yerma in 2016 will tell you, his stock in trade is to so totally reconceive old ones that he might as well be. For Yerma, at the Young Vic, he teamed up with the actor Billie Piper to present Lorca’s Andalucian peasant girl as a modern woman driven mad by her inability to conceive, despite multiple rounds of IVF. Two years earlier at Ivo van Hove’s Internationaal Theater Amsterdam, he reimagined Medea as a biochemist with two children and a cheating husband who not has only deserted her for a younger woman but has taken credit for all of her research.
Billie Piper in Yerma, 2016. Photograph: Young Vic
So what will he do with Janet McTeer as Phaedra, the Cretan princess who was married to Theseus and whose tragedy was to fall in love with her stepson Hippolytus? It’s a myth that drops like a plumb line through millennia, from Sophocles and Euripides in ancient Greece, to Seneca in Rome, Racine in 17th-century France and any number of 20th-century interpreters, each of whom have brought the preoccupations of their own times and places to bear on it.
Stone will use it to pull aside the invisibility cloak that enfolds women as they slide towards the menopause, in one of the great cultural injustices of the modern age. “I’ve spent a lot of time talking to and reflecting on postmenopausal women who feel eradicated,” he says. “They realise they’re not being seen any more, and that their sexuality has been deleted from the public eye. There have, of course, been all sorts of hormonal changes, but their sexuality doesn’t feel like it has diminished, and in some cases it’s increased. But that feels very at odds with the way we talk about potency. And that word in itself has implications of reproductivity in it, so in some ways it can’t even be applied metaphorically to a woman who is no longer capable of reproduction.”
Janet McTeer in rehearsals for Simon Stone’s new production of Phaedra at the National. Photograph: Johan Persson
Isn’t it astonishing, he adds, that even in the modern world the sexual narrative is still somehow linked to heterosexual reproduction. “But of course, reproduction is inherently heterosexual, in its cliched, old-fashioned connotation. So it all becomes very heteronormative and very, very patriarchal, just in the casual way that that world talks about and represents and celebrates sexuality in 50-plus women.”
Talking to Stone is an unusual combination of drought and tsunami. He thinks intently, looks pained, and then launches into floods of thought that have clearly burst up from some deep part of himself. Ever since he directed his first play as a 22-year-old actor, he has been drawn to the stories of women, he says. “I think if I were to analyse myself I would say that a lot of it is related to feeling that I can associate emotionally and rationally with the female side of my imagination much more than I do with the male side of my personality.”
He’s aware that in the current culture wars around gender and patriarchal oppression, this is contested territory. “I have long hair but I also have a massive beard and I’m in a heterosexual relationship. It’s really difficult to talk about because it’s such a sensitive topic for so many people for various different reasons. But my heroes are women. And when you’re writing plays with heroes in them, you want to be able to write one that you really respect and admire. I find that easier to do with women than I do with men.”
One result of this, he admits, is that “my men are very attenuated. If you studied all of my plays, you would always see a man who is unresolved, underdeveloped and unfinished, who doesn’t have the paradoxical nuance that his female counterpart has, because that’s my experience of masculinity: it is attenuated.”
He has come to the conclusion that he suffers from gender dyslexia. “I often introduce women as him and men as her, and I used to feel embarrassed by it.” In a bid to explain the origins of this, he tracks back to an early childhood experience in Switzerland, where he was born, one of three children, to a biochemist father and a veterinary scientist mother. He was about five years old, and trailing up the stairs of their apartment block behind his two sisters, when a boy who lived downstairs asked what he was doing with a doll. ”I looked down and realised that the boys in the playground didn’t play with dolls, but in my family all three of us had one of our own.”
When he was 12, his father died suddenly, leaving him in a family of women. The only two men he could stand to be around were a gay uncle and his partner, and as a teenager in Australia he came out as gay himself, “because I thought that was the only way that I could be a man and be as tender, effeminate, expressive, open, carefree as I wanted to be”.
Inconveniently, he kept having dreams about women. Eventually, he says, he had to come out as straight to his gay friends, which was embarrassing in case they thought he had been faking it, but luckily they understood, because “let’s face it, not a lot of guys in Australia in the 1990s would choose to be gay”.
His confusion over his sexuality did not extend to his sense of vocation, which was clear and driven from an early age. Through his teens he read plays voraciously, at a rate of four or five a week; by 15 he had found himself an agent, and by 16 was earning decent money as an actor in TV series and commercials. Drama school, he says, taught him how to behave like a man. “They need men to play male roles, so I kind of took on the physicality that I have nowadays.” But, far from sorting him out, the transformation made him “incredibly boring for about five years. Like, really, really boring. I became one-dimensional and constricted, judging myself before I said anything in case it would come across as camp or, you know, as the person that I actually want to be.”
Carey Mulligan and Ralph Fiennes in The Dig. Netflix
At 22, his frustration at the sort of acting roles he was being offered led him to try his hand at directing, and he set up his own company theatre company in Melbourne, the Hayloft Project, launching it with a production of Frank Wedekind’s Spring Awakening, and working his way through a European repertoire that included Chekhov, Ibsen and Nikolai Erdman. Simultaneously, Stone says, “through my 20s I was figuring out how to just be me”.
By his early 30s he had arrived where he wanted to be – back in Europe, as a regular director at Theater Basel, in the city where he was born. He made his film directing debut in 2015 with The Daughter, based on Ibsen’s tragedy The Wild Duck, which had become his international calling card when he directed a stage version at Sydney’s Belvoir Street theatre. He went on to make The Dig (2021), starring Carey Mulligan as the landowner whose determination led to the excavation of an Anglo-Saxon ship burial at Sutton Hoo.
For the past eight years, Stone has been based in Vienna with his dramaturg wife, Stefanie Hackl, but the couple have recently moved to London with their baby daughter. “I had to keep leaving home to be where I worked. And then I realised that the one place in the world where I probably wouldn’t have to leave home very much is London, because film, theatre and opera are all in the same place.”
In April he will make his Covent Garden debut with a new opera, Innocence, by the Finnish composer Kaija Saariaho, about a school shooting, which premiered at the Aix-en-Provence festival in 2021. “‘It’s my opera version of The Lion King. It’s going everywhere in the world,” he says. It extended his collaborative practice into an evolving musical work. “When I started working on the project there was just a libretto, and I hadn’t heard any of it by the time I designed it. Kaija saw the design and then kept writing this miraculous music.”
But first comes Phaedra, a tantalising glimpse of which is offered by a steamy teaser featuring McTeer and Assaad Bouab as versions of Phaedra and Hippolytus. “I was so interested in the idea of a woman who falls in love with a younger man and discovers her desire again – the excitement and rush of such a loss of control, and the idea that you could have a second chance in life,” says Stone. “Of course it’s a crazy act of amour fou, but like all of the Greek myths it’s an exorcism of the self-destructive potential in all of us.”
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( With inputs from : www.theguardian.com )
Mumbai: Bollywood actress Deepika Padukone, who plays a spy in the upcoming spy-thriller film ‘Pathaan’, has been called a bonafide action star by the film’s director Siddharth Anand. As one can see from the trailer and the assets that have been released so far, the actress can be seen pulling off the action and sultry bit with equal ease.
Talking about his liking towards femme fatale in films, Siddharth said, “There is nothing more cool or sexy than a woman wielding a powerful weapon on screen. As a film-buff, I have always loved women doing sick action sequences and so, when we got Deepika Padukone in ‘Pathaan’, we wanted to present her in her most badass self – a gorgeous, gun-toting, femme fatale spy that people have never seen before!”
Recollecting a sequence from the film, the director added, “In one of the action sequences of ‘Pathaan’, Deepika wields the gatling gun and you have to see the sequence to believe how legit she is as a bonafide action superstar! She steals the show in this scene and I’m sure people will cheer the loudest for her every time she does action in ‘Pathaan’.”
‘Pathaan’, which sees Shah Rukh Khan returning to the silver screen after four years, also stars John Abraham. The film is set to release on January 25 in Hindi, Tamil and Telugu.
I can’t say these are the greatest short films of all time: there are thousands and thousands of short films and you’d have to watch all of them. Most of them I saw when I was making short films, going to film festivals and watching a lot of them. These are the films that have stayed with me. They are films that I thought I’d like to share with the world, that more people should see them. In no particular order, here they are.
The Cat With Hands (2001)
Grimm-style fairytale from director Rob Morgan about a gruesome mutant cat-human hybrid being.
This feels like a story that has existed for hundreds of years and yet the director was actually inspired by a dream that his sister had. I just love the fact that it’s a recently invented fairytale. It’s three and a half minutes long and is so perfectly told: that’s something you are always striving for in short films, to find a complete story, and so many shorts don’t manage that. It’s such an incredibly nightmarish film; weird and riveting in its fusion of animation and live action to craft a strange fairytale world – and the buildup and mad editing of the finale is superb. It’s more than 20 years old now, but the production value is incredible, it feels like you are stepping into a huge-budget fantasy film.
She Wanted to Be Burnt (2007)
A Banquet director Ruth Paxton’s first short film, about a woman undergoing a mental health crisis whose origin is not clear.
This is a tumbling ride through a young woman’s shame. I remember feeling Ruth Paxton had captured a horrible feeling and put it up on screen and I was so impressed by that. I love it when I see a film-maker who isn’t censoring themselves or overthinking things. It’s not a straight narrative, there’s an experimental aspect to it; it’s implied, so you can bring your own baggage to the film. It’s not clear exactly what the root of this young woman’s shame is, but she appears to be trying to get away from herself, to rid herself of something. I found it really powerful.
Meshes of the Afternoon (1943)
Surreal fable by Maya Deren and Alexander Hammid, about a young woman haunted by a mysterious mirror-faced figure.
Cinema is the art form that most closely resembles our dreams, or nightmares, and I think Meshes of the Afternoon sits closest to this. The fact that it is silent makes it particularly dreamlike. Our minds attempt to create meaning and story from the somewhat dislocated events happening on screen – I find that fascinating from the perspective of how our brains seek out narrative. Ultimately it’s the repetition, those loops of images, that really stayed with me: we see a woman chasing a cloaked figure up a hill, and the edit makes it feel as though she is going back to the beginning over and over again. I’m unsure if I’ve created that idea in my head, or if that’s actually what happens – it feels like a dream we are trying to piece together. I very much respond to surrealism, and this is a film I return to time and time again to tap into that style of cinema and technique.
Camrex (2015)
Documentary by director Mark Chapman about Camrex House, a since-closed hostel for homeless men in Sunderland.
The hybrid nature of this film meant that when I first watched it, I wasn’t entirely sure if I was watching a documentary or a fiction. The shooting style resembles fiction; scenes setup with these men in different scenarios, doing press ups, throwing furniture out of windows. But it’s clear that these are not actors – they’re real people on screen. I find that technique so fascinating; this blurred line between reality and fiction. And it’s done here in such a cinematic way. It’s also not a world we often get to see on screen: we all know there are people living in homeless hostels like this but I don’t think I’ve ever seen into one of them. As a study of masculinity I also found it really fascinating and actually quite heartbreaking.
Manoman (2015)
Animation by Simon Cartwright about a man in primal scream therapy who releases his inner id.
It’s quite mad, this one. Like Camrex, this is a film about masculinity, which I must clearly be intrigued by! This is a disturbing, very strange look at the pressures, expectations and neuroses of being a man – all expressed in a hilarious and quite bonkers way. It’s one of those films that you love to show to people just to see how they react, particularly to the wonderfully insane climax. It’s definitely in the same space as She Wanted to Be Burnt: in that it’s a film-maker being creative and unbridled in their expression. I really respect that and think that’s one of the advantages of short films – you don’t have the same pressures as a feature. I just love seeing film-makers explode imaginatively on to the screen like this.
Dead. Tissue. Love (2017)
Documentary by Natasha Austin-Green interviewing a woman about her interest in necrophilia.
I first saw this one on The Final Girls’ We Are the Weirdos short film tour, and I found it so fascinating and atmospheric. Necrophilia feels like it doesn’t really exist in the real world – it’s more something you read about or watch in horror films – but this is a meditation on necrophilia delivered in a non-judgmental way, which becomes an opportunity to understand something beyond our comfort zone. We are pulled into it slowly: the woman’s voiceover (by an actor) explains her own discomfort with these strange desires – it all just fascinated me, to be honest. We never see the person speaking – the voiceover is accompanied by very visceral imagery making it feel like we are digging under and into flesh. I guess some people might find it a bit gross. But film has the power to allow us to see from other people’s perspectives; most of us would be horrified by the idea of necrophilia – disgusted, really – but this film seeks to humanise it and does so very successfully. It’s testament to the way cinema allows us to empathise.
Hes the Best (2015)
Short drama from director Tamyka Smith about a woman getting ready to go out on a date.
I saw this years ago at a film festival and I’ve never forgotten it. There’s no dialogue. We gather certain information via text messages as we watch a woman prepare for a date. We never fully see her face: in extreme close up, she puts on makeup, scrubs every millimetre of her body, removes hairs, perfects herself. Then she arrives at a house, where this guy in jogging bottoms, who’s clearly made no effort whatsoever, opens the door. It then cuts to her leaving the next morning – we don’t know what happened in there but we do know that the effort she went to, the expectations she had for this date, have clearly not been met. She seems so used. It’s a short film that takes a very small, seemingly simple idea and expresses it so clearly; the extremes and efforts that women go to to present themselves, and then this disappointment, shame, perhaps even embarrassment, feeling used, not being respected back – it encapsulates that really powerfully.
Ekki Múkk (2012)
Directed by Nick Abrahams as part of a series to accompany music by Sigur Rós, featuring Aidan Gillen and a snail.
I remember feeling so moved when I first saw this. The Sigur Rós music is very emotive. I had tears streaming down my face by the end – I don’t think many short films can tap into that level of emotion in just 10 minutes. There’s something so simple, surreal and fantastical about the story itself: a man lost in the forest and a snail helps him find his way – or not – out of the darkness. I am a sucker for anything with animals; the idea of empathy between humans and animals. It’s perhaps quite different from the other films here, more sentimental – but it sits in a fantastical space that really appeals to me. I can see I have a fascination with the darker aspects of life, death and decay, and this film has an incredible time-lapse sequence of a fox’s body decomposing, which makes you think about what we are, what nature is and how we all belong to the same thing.
Solitudo (2014)
Short film from Prevenge director Alice Lowe, about an isolated nun haunted by nameless fears.
This is a film with no dialogue, with Alice Lowe playing a nun in the middle ages, living on her own in the middle of nowhere. It has an incredibly strange atmosphere: you see her exploring the idea of isolation, living on her own in a ruin and trying to transcode messages from nature. For instance, she finds a dead bird and seems to interpret this as having a deeper meaning. Lowe captures a real sense of isolation and lack of rules about what’s going on in the world, leaving her character unanchored, desperately searching for meaning in a world that may have none.
Unravel (2012)
Documentary about women working in a recycling factory in India, which turns clothes from the west into yarn for blankets.
I have to confess, I worked on this film as an editor but I absolutely love it and believe in its sentiment, and the director Meghna Gupta is amazing. We might expect a film set in clothing factories to be depressing, but the natural warmth and personalities of the people interviewed brings a refreshing lightness. While the film is shot in the east, in many ways it is a reflection of our waste in the west, the capitalist clothing market that keeps us buying more and more stuff that we just end up throwing away. But what I really love about it is the central character Reshma: she doesn’t have much but she has a lot of joy. The clothes that she handles travel thousands of miles around the world to this one little sleepy place, Panipat, all while Reshma herself dreams of travelling but has never left the town – the contrast is poignant. She’s one of those characters that you could spend hours with.
Spider (2007)
Black-comic thriller directed by Nash Edgerton about a man whose prank on his girlfriend goes painfully and horribly wrong.
Like The Cat With Hands, this is a very complete story that works perfectly for the short film form. It’s also one I show people a lot – with a trigger warning – without giving away the ending, which is just so brilliant and shocking. The main character is idiotic and yet well-meaning; you kind of like him but from the start you are sitting there just dreading what is about to happen. The fact that the director has a stunt background makes total sense: it is such a well set-up joke … I don’t want to call it a joke, but it is. We don’t get that many shorts that hit that narrative perfection, but this one does. It’s not something to meditate on or make you a better person, it’s just pure entertainment.
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