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The opening sequence of 'Akashathinte Niram' has an old man (Nedumudi Venu) asking a young boy (Govardhan) what the color of the sky is. Blue, replies the small chap. The man suggests that the sky sports hues and shades that the mind would love to see. Quite an anticipatory bail for a film that is to follow for a couple of hours, that prompts the viewer to draw up assumptions and arrive at conclusions of their own. Dr. Biju's new film follows a pickpocket (Indrajith) who lands up on an island inhabited by three individuals - an old man, a young boy and a deaf and dumb girl (Amala Paul). Not being able to sail back to the main land, the small time thief gives vent to his frustration by breaking things until eventually he learns a few lessons in life. And by few, I mean a very few, that arrive at the fag end of the film. But by then, anyone who has been eying the proceedings attentively could have guessed where it's all headed. But for the first one and a half hours, the film resembles a ship that is lost in the blue sea that you get to see in abundance, sailing this way and that until the shore comes into view. There have been similar attempts perhaps in world cinema, but what would set apart 'Akashathinte Niram' from a classic like 'Spring, Summer, Autumn, Winter' is that the emotional density that makes the latter film a delightful watch is missing in the former. While every movement and every moment of silence holds tremendous implication in the Kim Ki Duk film, the extended periods of stillness in 'Akashathinte Niram' add up to the tedium. The emptiness that spreads out into the sea that lies all around starts eating its way into the characters that inhabit the island in no time. You realize that that there is something mysterious about them, but the hollowness that make up their very being cannot be missed. The hush and the calm that pervades three fourth of the film give way to some verbal clamor at the climax. Its as if there is a point to be made, and there is no way in which they want the message to go unnoticed. Statements on service and humanity are made, but these are things that we have heard aplenty before. The only difference is that they have been set on an island this time around. Solid performances from the lead actors (which include a surprise cameo by Prithviraj) do try to drop in the anchor to this ship that has gone adrift in the ocean. M J Radhakrishnan's beautiful frames and a resplendent background score by Isaac Thomas Kottukapally serve as life savers as well. 'Akashathinte Niram' thus ends up a visually spectacular film that lacks something very vital - life! And there are too many voids lying all around it that thwart its attempts to come across as a believable experience.
A tale of juvenile delinquency, about a high-school student neglecting his studies, partying hard, falling in with the wrong crowd and finally finding himself on trial for murder committed during a robbery.
In a post-State gmina Osiek, on August 15th the plaque commemorating the liberation of the town from the hands of the Bolsheviks in 1920 will be unveiled. Vogt wants the event to be festive and to contribute to the promotion a the forgotten gmina. He needs a veteran, but where will he find a veteran of the 1920 war? Marian, a village shopkeeper, promises to “find” a veteran in excha
Director helmut Dietls and Patric Susskinds illustrate a legendary story of two lovers who cant keep themselves away from death.
Punyalan Agarbattis is the story of Joy Thakkolkaran, a young entrepreuner from Thrissur. His new business venture 'Punyalan Agarbattis' involves manufacturing agarbattis from elephant dung. Fragrance and quality of his incense sticks aside, its mosquito repellant capabilities too have pleased those who tried the samples. However, Joy suddenly has a new set of people and problems as 'Punyalan Agarbattis' comes to a halt.
The railway runs kilometers through the forest. Shikhamani is the most honest and efficient gang man. He lives in the nearby village. Quite unexpectedly a girl enters his life and the resulting events are plotted.
Sughu falls in love with the daughter of a rich man. In order to marry his lover, he seeks illegal ways to make money, but life takes a turn when his plans become flop.
A mother finds it hard to believe that her son is convicted as a terrorist and is sent to gallows. Eventually, she loses her mental balance.
Three young people—Haris, a gay painter; Vishnu, a rural kabaddi player and their friend Sia, an activist who refuses to conform to dominant norms of femininity—struggle to find space and happiness in a conservative Indian city.
Swapaanam (Malayalam: സ്വപാനം) (English translation: The Voiding Soul) is a Malayalam film directed by Shaji N. Karun and produced by M. Rajan for Horizon Entertainments. The film features Jayaram and Kadambari in the lead roles,[1] alongside Siddique, Vineeth, Lakshmi Gopalaswamy in supporting roles. The cinematography was held by Saji Nair and music was composed by Sreevalsan J Menon, while the script was written by Harikrishnan and Sajeev Pazhoor, based on Shaji’s own story.[2] The film was screened in the Dubai International Film Festival.[3] The film released with Auro 3D sound in selected theatres, becoming the third Indian film to employ the technology after Vishwaroopam(Tamil) and 1- Nenokkadine (Telugu).[4]
Jon, a middle-aged professor is going to get married tomorrow, for the second time, to one of his ex-students half his age. But it's not all roses. First, there's his cranky mother-in-law-to-be who violently opposes the marriage and who demands repayment of Jon's loan before the wedding night. Second, his plans to build a golf course on the little island of Flatey where they live aren't going at all to plan. Third, his extremely drunk best man is on the loose without any shoes and lastly, the continual presence of his emotional first wife is haunting his every move. When the guests start flocking to the island, Jon starts getting cold feet. After a very long night of drinking and thinking, will Jon be able to make it to the church on time?
Rajan is a real terror in his village. Emotional setbacks in his life were responsible for his delinquent nature. Rajan was in love with Radha and they wished to get married. But their dream is not realised. Rajan's brother Gopala Pillai marries Radha. Neglected and deceived by his own brother, lover and family members Rajan turns delinquent.