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The National Award-winning film maker Hansal Mehta, fresh from the spirited showing of Aligarh, the moving story of a gay professor from Aligarh Muslim University who was lynched, found both awe and inspiration in Rohith Vemula’s suicide note, a poignant paean to lost dreams. His short captures a time of ferment on campus. Through a Hindi translation of the letter, Mehta wants to reach out to a wider audience and highlight how caste continues to be an an ugly truth that keeps surfacing even among educated minds. We are in a time where showcasing myself as a filmmaker is irrelevant, he says. The freedoms and rights guaranteed by our Constitution are being taken away from us by polarising forces. Rohith’s letter expresses the anguish of a nation at the threshold of revolt against these forces. We are being silenced into meek submission by an apathetic establishment. Our students are the only hope of resistance in these troubled times. My intention is to simply play Rohith’s letters as monologues to provoke us to think about the perils of further polarisation.

National Award-winning film maker Hansal Mehta, fresh from the spirited showing of Aligarh, the moving story of a gay professor from Aligarh Muslim University who was lynched, found both awe and inspiration in Rohith Vemula’s suicide note, a poignant paean to lost dreams. His short captures a time of ferment on campus. Through a Hindi translation of the letter, Mehta wants to reach out to a wider audience and highlight how caste continues to be an an ugly truth that keeps surfacing even among educated minds. We are in a time where showcasing myself as a filmmaker is irrelevant, he says. The freedoms and rights guaranteed by our Constitution are being taken away from us by polarising forces. Rohith’s letter expresses the anguish of a nation at the threshold of revolt against these forces. We are being silenced into meek submission by an apathetic establishment. Our students are the only hope of resistance in these troubled times. My intention is to simply play Rohith’s letters as monologues to provoke us to think about the perils of further polarisation.

Bollywood Horrors looks at the religious aspects of horror imagery, representations of real-life horror in the movies, and the ways in which Hindi films have projected cinematic fears onto the screen.Part one, Material Cultures and Prehistories of Horror in South Asia looks at horror movie posters and song booklets and the surprising role of religion in the importation of Gothic tropes into Indian films, told through the little-known story of Sir Devendra Prasad Varma. Part two, Cinematic Horror, Iconography and Aesthetics examines the stereotype of the tantric magician found in Indian literature beginning in the medieval period, cinematic representations of the myth of the fearsome goddess Durga’s slaying of the Buffalo Demon, and the influence of epic mythology and Hollywood thrillers on the 2002 film Raaz. The final part, Cultural Horror, analyzes elements of horror in Indian cinema’s depiction of human trafficking, shifting gender roles, the rape-revenge cycle, and communal violence. The ideal is to evolve into a more nuanced, refined filmi feminism one where received ideas of masculinity and femininity are subordinated to individual identity, one where women stand for themselves alone and are not forcefully elevated into the tiring role of the symbol. Perhaps advertising, with its compact, individualistic narratives will embrace this nuance and lead the way. For now, even as the details remian problematic, the broad brushstrokes look auspicious indeed.Heres to more robust filmi feminism in the year to come. Can she Should she Recently weve been lucky to see a plethora of plotlines in which women take drastic departures from the norm in answering these questions whether its Deepika Padukones turn as the warrior princess in Bajirao Mastani and the not-so-dutiful daughter in Piku, Kangana Ranaut as the feisty, relectuantly married woman in Tanu Weds Manu Returns, Anushka Sharmas wrestling chops in Sultan, and Rani Mukherjee wrecking violent vengeance in Mardaani. 5ec8ef588b

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