IFFK 2021: 22 world cinema; 10 Indian premieres
Thiruvananthapuram: 'World Cinema' has always been a major category of attraction in the International Film Festival. Adhering strictly to the COVID protocol and limitations, the 25th IFFK has 22 films lined up in the world cinema category this year, including 10 Indian premieres.
'The Wasteland', 'Dear Comrades', 'Night of the Kings', 'Wife of a Spy', 'The man who sold his skin' are among the cinematic highlights in this category.
'Wife of a spy', directed by Kiyoshi Kurosawa won the Silver Lion at the 77th Venice International Film festival. It is a Japanese historical drama romance.
‘The Wasteland’ is a strong film set in the background of the director's childhood memories. The tensions arising due to ethnic differences, power struggles and romantic relationships set the theme of the narrative.
'The man who sold his skin', directed by Kaouther Ben Hania, is inspired from Wim Delvoye's living work Tim. It premiered in the Horizons section at the 77th Venice International Film Festival, where it won the best actor award.
Italian director Uberto Pasolini's 'Nowhere Special', Korean director Hong Sangsoo's 'The Woman who ran', Christian Petzold's 'Undine', Malgorzata Szukowska and Michal Englert's 'Never gonna snow again', Amos Gitai's 'Laila in Haifa', Francois Ozon's 'Summer of 85', and Ye Lou's 'Saturday Fiction' are some of the directorial highlights of world cinema.
Adhilkhan Yerzhanov's 'Yellow Cat' is a minimal movie that blends escapism and reality, as well as humour and tragedy perfectly. It is among the 10 Indian premieres along with Edmundo Yeo's 'Malu', Pierre Monnard's 'Needle Park Baby', and Uluc Bayraktar's '9,75'.
Wei Shujun's 'Striding into the Wind' and Zhang Dalei's 'Stars Await Us' are also among the Indian premieres, holding more promise of the arising younger set of filmmakers.
'Stars Await Us' is a potential work of creativity that sets the director apart in the panorama of contemporary Chinese cinema. The story seems to depict archetypal figures, suspended in a realm of cinematographic imagery which privileges suggestive ambiences over facts.