The NYT takes a look at new wave Indian cinema:
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Being Cyrus |
Lately, a third type of Hindi cinema has emerged. It’s composed of smaller, offbeat films that are more realistic than Bollywood tales and edgier than art-house ones. The films have an urbane, uniquely Indian sensibility. Many, though not all, are in Hinglish, the hybrid of Hindi and English that is spoken in metropolitan India.
These films have none of the overt glamour or sunny disposition of mainstream movies. Emotions are messy, characters have pasts and endings aren’t always happy. But neither are the movies treatises on social issues far removed from the filmmakers’ own experience, like so much art-house cinema was… Grimness is no longer box office poison, however. The first hit of 2005 was “Page 3,” the director Madhur Bhandarkar’s scathing look at high society in Mumbai. It featured pedophilia, drug-fueled rave parties and unabashed nastiness… [Link]
Distribution is key:
But the current crop of Indian independents can count on far wider release, thanks in large part to the arrival of more multiplexes. The first Indian multiplex, the PVR Anupam, opened in New Delhi in June 1997. Until then most filmgoers patronized cavernous theaters with 1,000 to 1,500 seats…After the PVR Anupam opened, some state governments announced entertainment tax exemptions and prompted a multiplex boom. There are 73 multiplexes in India, with 276 screens and about 89,470 seats. The numbers are expected to increase to 135 multiplexes with more than 160,000 seats by the end of 2006…
The more affluent multiplex viewers have given filmmakers new fiscal and artistic freedom. “A film is a conversation,” said the director-producer Ram Gopal Varma… “The multiplex gives me flexibility and enables me to have a conversation with my intended target audience without worrying about small towns and villages…” [Link]
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