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Shyam Benegal’s Cannes debut: How Nishant & a bold saree stunt put Indian cinema on the global map

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Shyam Benegal

Shyam Benegal, the legendary filmmaker who revolutionized Indian cinema, has died at the age of 90. Known for his trailblazing contributions to parallel cinema, Benegal’s death marks the end of an era that redefined Indian filmmaking. His legacy, built on realism, social commentary, and a break from conventional narratives, continues to inspire filmmakers today. As the nation mourns the loss of a visionary, his remarkable body of work remains an integral part of India’s cinematic history.

In 1976, Indian cinema witnessed a turning point when Shyam Benegal, a trailblazing director, made his debut at the prestigious Cannes Film Festival. At a time when Cannes was still firmly grounded in the world of cinema, not yet a fashion-driven spectacle, Benegal’s film Nishant was featured in competition. It was a groundbreaking moment for both the director and Indian cinema as a whole, marking India’s arrival on the global film stage.

Benegal, at the age of 42, had already made a lasting impact with his previous film Ankur, which subtly introduced the nation to a new wave of filmmaking. Nishant, like Ankur, showcased a unique narrative style that was rooted in realism, tackling socio-political issues with a raw sensitivity that resonated with audiences. But it was the film’s Cannes screening that truly marked a turning point for Indian cinema.

The 1976 Cannes Festival was different from the glitzy, fashion-focused events we see today. It was a celebration of cinema in its purest form. However, Benegal’s presence was far from typical. Along with Nishant, the director brought along his two lead actresses, Smita Patil and Shabana Azmi, to the French Riviera. Although the film was accompanied by posters from the National Film Development Corporation (NDFC), a mix-up meant that the posters never made it to the festival, but the trio of Indians did.

Shabana Azmi later shared how they made an unforgettable impression at Cannes. “In a place where we had no money and everybody was throwing lavish parties, Shyam came up with this unique idea. He said, ‘I want both of you [Azmi and Patil] to wear your finest South Indian saris and walk the promenade from eight in the morning,'” Azmi recalled. While everyone else was dressed in beachwear, the two actresses, in their traditional silk saris, paraded the streets of Cannes. They became living advertisements for their film, greeting passersby and inviting them to the screening. This unconventional tactic helped them attract an audience in the absence of a big promotional budget.

The story of Nishant at Cannes is as much about the film as it is about the personalities behind it. Benegal, known for his modest approach, had a keen understanding of how to present Indian cinema on the world stage. In an era when films were promoted with lavish budgets and star power, Benegal’s approach was simple yet effective. The director was also a seasoned adman who had spent years in the advertising world before venturing into filmmaking. His commercial acumen translated well into his filmmaking, as evidenced by his strategy to promote Nishant at Cannes.

Benegal’s cinematic journey started with Ankur in 1973, a film that introduced a new era in Indian cinema. Following Nishant, he directed other masterpieces such as Manthan (1976) and Bhumika (1977). Together, these films laid the foundation for what became known as “New Cinema” in India, a movement that sought to tell more socially conscious, realistic stories, often drawing attention to issues of class, caste, and gender. Through his films, Benegal introduced a new generation of actors, including Shabana Azmi, Smita Patil, Naseeruddin Shah, Kulbhushan Kharbanda, Om Puri, and Neena Gupta, many of whom became icons of Indian cinema.

Benegal’s approach to filmmaking was notably collaborative. He ran a tight-knit ship where everyone, from the actors to the crew, contributed in whatever capacity they could. The actors, many of whom were at the beginning of their careers, often worked for little to no money, driven by their desire to be part of a revolution in Indian cinema.

In Nishant, Benegal pitted Shabana Azmi and Smita Patil against each other, creating a compelling dynamic that made the film stand out. While Azmi’s character received more screen time, Patil, who was making her feature film debut, played an equally significant role. The film, which was set against the backdrop of rural India, focused on social issues and gender dynamics, and it became known for its powerful female leads.

Nishant was nominated for the Palme d’Or at Cannes and won the National Film Award for Best Feature Film in Hindi. Benegal’s participation in the Cannes Film Festival in 1976 proved to be a turning point for Indian cinema, and his legacy continues to inspire filmmakers today.

With films that were ahead of their time and an unwavering commitment to realism, Shyam Benegal ushered in a new era for Indian cinema. He not only changed the way stories were told but also made sure that India’s voice was heard loud and clear on the world stage. Nishant at Cannes marked the dawn of a new era — an era where Indian films, for the first time, garnered the international attention they truly deserved.

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Hisaab Barabar review: R Madhavan’s strong performance can’t save the film

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R Madhavan in a still from 'Hisaab Barabar', reviewing his character’s battle against a corrupt bank.

Platform: Zee5
Genre: Drama
Director: Ashwni Dhir

In Ashwni Dhir’s latest directorial venture, Hisaab Barabar, the central theme revolves around a common man taking on an unjust system—an age-old concept that rarely fails to resonate with audiences. However, despite R Madhavan’s earnest portrayal of the protagonist, the film struggles to deliver a compelling narrative, falling short of its potential.

At the core of Hisaab Barabar is Radhe Mohan Sharma, an Indian Railways ticket examiner played by Madhavan. Sharma, a diligent single father, has an obsessive passion for numbers, a trait that propels him into a battle against a corrupt private bank. When he discovers a minor discrepancy of 27 rupees and 50 paise missing from his account, his seemingly simple quest for an explanation unravels into a larger conflict with Mickey Mehta (Neil Nitin Mukesh), the unscrupulous owner of the bank.

The film’s premise—an ordinary man’s war against the system—holds promise. However, the execution fails to capitalize on this potential. The narrative unfolds along predictably conventional lines, lacking the depth or unpredictability needed to keep viewers engaged. Sharma’s relentless pursuit of justice feels formulaic, with few surprises in store for the audience.

The film drifts between moments of mild humor and heavy-handed seriousness, ultimately struggling to find a rhythm that resonates. Radhe Mohan’s character, while driven by a strong moral compass, never evolves beyond his defining trait of being a number cruncher. As a result, despite Madhavan’s best efforts, the character lacks emotional depth, making it difficult for viewers to fully invest in his journey.

Kirti Kulhari, who plays a key role as a passenger with a connection to Sharma’s past, faces a similar issue. Although her character seems poised to offer emotional or narrative weight, she too remains underdeveloped. Her motivations and character arc are not explored sufficiently, leaving her character largely reactive to the actions of the lead. Kulhari’s performance, however, remains solid despite the constraints of the role.

On the opposite side of the spectrum, Neil Nitin Mukesh stands out as the greedy and manipulative bank owner, Mickey Mehta. His portrayal is flamboyant, and while the character’s exaggerated traits occasionally make him a more engaging figure, the lack of real conflict or challenge between him and Sharma detracts from the stakes of the story.

The film’s attempt at social commentary—highlighting the exploitation of middle-class bank customers—is timely, but the execution falls flat. Hisaab Barabar struggles to balance its critique of corruption with its dramatic elements, leading to a somewhat disjointed viewing experience. Despite a few relatable moments and its intentions to provoke thought, the film ultimately lacks the punch required to leave a lasting impact.

The central message, which advocates for the power of patience and perseverance in the face of overwhelming odds, is clear. However, it is delivered with such predictability that it fails to inspire or engage. The film does not venture beyond its safe, established formula of the David versus Goliath struggle, which leaves little room for the audience to feel any real stakes or tension.

Ultimately, Hisaab Barabar is a missed opportunity. While the film’s premise and Madhavan’s performance offer glimpses of what could have been, its lack of narrative depth, underdeveloped characters, and uneven execution prevent it from making any significant impact. What starts as a promising drama about an ordinary man against a corrupt system ends up as a forgettable, by-the-numbers affair.

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Friday OTT releases (January 24, 2025): A glimpse at this weekend’s must-watch movies, web series

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R Madhavan in a still from 'Hisaab Barabar', reviewing his character’s battle against a corrupt bank.

As the weekend draws near, OTT platforms are serving up an exciting variety of new content to keep you entertained. With genres ranging from lighthearted romantic comedies to gripping thrillers, January 24, 2025, promises to offer something for everyone. Here’s a look at five highly anticipated releases to stream this Friday:

1. Sivarapalli – Amazon Prime Video

Sivarapalli – Amazon Prime Video

Release Date: January 24, 2025
Fans of the hit show Panchayat are in for a treat with Sivarapalli, a Telugu remake of the much-loved series. Set in the rural village of Sivarapalli in Telangana, the show follows an engineering graduate who is reluctantly thrust into the role of Panchayat Secretary. The series promises to offer a heartwarming and humorous look at rural life in India. With its relatable characters and small-town charm, Sivarapalli will appeal to fans of the original while also attracting new viewers. Stream it on Amazon Prime Video starting this Friday.

2. Sweet Dreams – Disney+ Hotstar

Sweet Dreams – Disney+ Hotstar

Release Date: January 24, 2025
This romantic dramedy features Mithila Palkar and Amol Parashar as Kenny and Dia, two people who embark on an unconventional journey to find their dream partners—literally. When both of them dream about meeting someone, they set out to find these mysterious figures in real life. The quirky premise and charming performances make Sweet Dreams an ideal weekend watch for those in the mood for something lighthearted yet intriguing. Available for streaming on Disney+ Hotstar.

3. The Sand Castle – Netflix

The Sand Castle – Netflix

Release Date: January 24, 2025
In this mystery thriller, a family of four finds themselves stranded on a deserted island where survival becomes a battle. Tensions rise as long-buried secrets come to light, threatening to tear the family apart. Directed by Matty Brown, The Sand Castle promises a gripping, edge-of-your-seat experience with its mix of mystery, suspense, and drama. With an IMDb rating of 7.9, this thriller is one not to miss. Catch it on Netflix this Friday.

4. Hisaab Barabar – Zee5

Hisaab Barabar – Zee5

Release Date: January 24, 2025
Hisaab Barabar is a satirical drama that delves into corruption and the quest for justice. The film follows Radhe Mohan Sharma, a railway ticket inspector who uncovers a massive financial scam after discovering discrepancies in his own bank account. Starring R Madhavan and Neil Nitin Mukesh, this social drama combines suspense with humor, making it an intriguing watch. With a strong storyline and sharp social commentary, Hisaab Barabar is now streaming on Zee5.

5. Saubhagyavati Sarpanch – Ultra Jhakaas

https://youtu.be/k2PbINwF6n0

Release Date: January 24, 2025
This inspiring drama tells the story of Awali, a housewife who unexpectedly becomes a Sarpanch, leading her village towards progressive change. The series touches on themes of women’s empowerment, as Awali challenges traditional norms and works towards social improvement. The show’s focus on overcoming societal barriers makes it a powerful narrative about hope, determination, and the transformative role of women in shaping society. Stream it now on Ultra Jhakaas.

The OTT platforms this weekend bring an exciting mix of genres, from the emotional depth of Sivarapalli to the mystery and tension of The Sand Castle. Whether you’re in the mood for romance, drama, or suspense, January 24 has something for everyone. Be sure to mark your calendars and catch these releases as they drop this Friday.

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Oscars 2025 nominations: Anuja in spotlight as other Indian films snubbed

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Anuja nominated for Best Live Action Short Film at the 2025 Oscars

As the 97th Academy Awards nominations were unveiled, Indian cinema found itself with mixed fortunes. While the much-anticipated Oscars saw the inclusion of one Indian film, Anuja, in the Best Live Action Short Film category, several major contenders were left out of the nominations entirely.

This year, despite the strong buzz surrounding Indian films like Swatantrya Veer Savarkar, Putul, Aadujeevitham: The Goat Life, All We Imagine As Light, Band of Maharajas, Kanguva, The Zebras, Girls Will Be Girls, and Santosh, none of them made it to the final list of nominees. The exclusion of these titles has raised eyebrows, particularly among fans and industry insiders who had high hopes for their inclusion.

The lone Indian contender making waves at the Oscars 2025 is Anuja, a poignant short film produced by Guneet Monga and Priyanka Chopra. Directed by Adam J. Graves, the film follows the story of Anuja, a young girl played by Sajda Pathan, who works in a garment factory in Delhi. Anuja, along with her sister Palak (played by Ananya Shanbhag), is faced with an incredibly difficult decision that could alter the course of her life and her family’s future.

The announcement of the nominations was made today during a live-streamed ceremony hosted by actors-comedians Rachel Sennott and Bowen Yang, which took place at the Academy’s Samuel Goldwyn Theater. The event revealed the nominees across all 24 Oscar categories.

While the exclusion of several noteworthy Indian films is disheartening for many, the success of Anuja offers a glimmer of hope for Indian cinema in the global spotlight. The 97th Academy Awards ceremony will be held on March 2, 2025, at the Dolby Theatre in Los Angeles, with Conan O’Brien serving as the host for the star-studded event.

As the Oscars approach, the spotlight remains on Anuja, with audiences eager to see how the film will fare in the prestigious race for the gold statue.

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