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BAHUROOPI NATIONAL THEATRE FESTIVAL ‘ABHIVYAKTI’-2016Bahuroopi Film Festival - 2016INAUGURAL FUNCTION

On 14th of January 2016 at 11.00pm

Begins with the Singing of poem ‘AVVA’ of P.Lankesh’s By H.Janardhan (Janni), renowned singer & Director of Rangayana, Mysore

WELCOME By Shri S.I. Bhavikatti

Deputy Director, Rangayana, Mysore

PREAMBLEN.Vidyashankara

Film Scholar & Critic

ABOUT THE FESTIVALBy Shri. Manu. K.

Coordinator of the Film Festival

FELICITATION TO THE GUESTSShri. H. Janardhan (Janni)

By Director, Rangayana Mysore

INAGURATIONBy Eminent Film DirectorShri. M.S.Sathyu

Through screening of short documentary ‘One hundredth of a second’

INAUGURAL SPEECHPRESIDENTIAL ADDRESS

Shri. H. Janardhan (Janni)By Director, Rangayana Mysore

VOTE OF THANKSBy Shri. Dhananjaya, Theatre Artiste, Mysuru

COMPEERINGBy Shri. Harish, Theatre Artiste, Mysuru

FESTIVAL STARTS WITH THE SCREENING OF THE DOCUMENTARY FILM ‘HUMAN’ AFTER 10 MINUTES

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Human: Extended Version Part (2015) 84 min. English Dir: Yann Arthus-Bertrand HUMAN is a collection of stories about and images of our world, offering an immersion to the core of what it means to be human. Through these stories full of love and happiness, as well as hatred and violence, HUMAN brings us face to face with the other, making us reflect on our lives. From stories of everyday experiences to accounts of the most unbelievable lives, these poignant encounters share a rare sincerity and underline who we are – our darker side, but also what is most noble in us, and what is universal. Our Earth is shown at its most sublime through never-before-seen aerial images accompanied by soaring music, resulting in an ode to the beauty of the world, providing a moment to draw breath and for introspection.

ºÀÆåªÀÄ£ï JPïìmÉAqÉqï ªÀµÀð£ï ¨sÁUÀ-1 (2015) 84 ¤. EAVèÃµï ¤zÉÃð±À£À : AiÀiÁ£ï DxÀð¸ï - §mÁæAqï

£ÀªÀÄä dUÀwÛ£À avÀæªÀ£ÀÄß PÀnÖPÉÆqÀĪÀ PÀxÉUÀ¼À UÀÄZÀÒªÉà ‘ºÀÆåªÀÄ£ï’, ªÀiÁ£ÀªÀvÉAiÀÄ PÉÃAzÀæ ©AzsÀÄ«£ÉqÉUÉ £ÉÆÃqÀÄUÀgÀ£ÀÄß ªÀÄļÀÄV¸ÀĪÀ avÀæt EzÁVzÉ. F PÀxÉ UÀ¼À°è ¦æÃw ¸ÀAvÉÆõÀUÀ½ªÉ, zÉéõÁ¸ÀÆAiÉÄ-PËæAiÀÄðUÀ½ªÉ. £ÀªÉÆä¼ÀV£À ªÀåQÛAiÉÆqÀ£É ªÀÄÄSÁªÀÄÄTAiÀiÁV¸ÀÄvÁÛ ‘ºÀÆåªÀÄ£ï’ £ÀªÀÄä fêÀ£ÀªÀ£ÀÄß PÀÄjvÀÄ CAvÀªÀÄÄðTAiÀiÁV¸ÀÄvÀÛzÉ. ºÀÈzÀAiÀĸÀà²ð ̧ À¤ßªÉñÀUÀ¼ÀÄ C£ÀÄ¢£ÀzÀ DUÀĺÉÆÃUÀÄUÀ¼ÁVzÀÝgÀÆ £ÀA§¯ÁgÀzÀ §zÀÄPÀÄUÀ¼É¤¸ÀÄvÀÛªÉ. £ÀªÀÄä C¹ÛvÀéªÀ£ÀÄß ¥Àæ²ß¸ÀĪÀAvÉ ¥ÉæÃgÉæ¸ÀĪÀ F PÀxÉUÀ¼ÀÄ £ÀªÀÄä PÀgÁ¼À ªÀÄÄRªÀ£ÀÄß, £ÀªÀÄä GzÁvÀÛvÉAiÀÄ£ÀÄß ºÁUÉAiÉÄà ̧ ÁªÀðwæPÀvÉAiÀÄ£ÀÄß vÉÆÃgÀÄvÀÛªÉ. £ÀªÀÄä ¨sÀÆ«ÄAiÀÄ£ÀÄß »AzÉAzÀÆ PÁtzÀµÀÄÖ ¨s˪ÀåªÁV ªÉʪÁ¤PÀ awæÃPÀgÀtzÀ ªÀÄÆ®PÀ vÉÆÃj¸À¯ÁVzÉ. ¢ªÀåªÁzÀ ¸ÀAVÃvÀzÉÆqÀ£É ¸ÉÃj F dUÀwÛ£À ¸ËAzÀAiÀÄðªÀ£ÀÄß ¸ÉgÉ »rAiÀįÁVzÉ.

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Human: Part 2 (2015) 84 min. English Dir: Yann Arthus-Bertrand What is it that makes us human? Is it that we love, that we fight? That we laugh? Cry? Our curiosity? The quest for discovery? Driven by these questions, filmmaker and artist Yann Arthus-Bertrand spent three years collecting real-life stories from 2,000 women and men in 60 countries. Working with a dedicated team of translators, journalists and cameramen, Yann captures deeply personal and emotional accounts of topics that unite us all; struggles with poverty, war, homophobia, and the future of our planet mixed with moments of love and happiness.

ºÀÆåªÀÄ£ï JPïìmÉAqÉqï ªÀµÀð£ï ¨sÁUÀ-2 (2015) 84 ¤. EAVèÃµï ¤zÉÃð±À£À : AiÀiÁ£ï DxÀð¸ï - §mÁæAqï

£ÀªÀÄä£ÀÄß ªÀiÁ£ÀªÀ£À£ÁßV¹zÁÝzÀgÀÆ K£ÀÄ? £ÁªÀÅ ¥ÀgÀ¸ÀàgÀ ¦æÃw¸ÀÄvÉÛêÉA§ÄzÉÃ? ºÉÆqÉzÁqÀÄ vÉÛêÉA§ÄzÉÃ? £ÀªÀÄä £ÀUÀĪÉà £ÀªÀÄä PÀA§¤AiÉÄÃ? £ÀªÀÄä PÀÄvÀƺÀ®ªÉÃ? ºÉƸÀzÀ£ÉßãÁzÀgÀÆ C£Ééö¸ÀĪÀ UÀÄtªÉà EªÉ®èzÀPÀÆÌ ¸ÁzsÀåªÁV¹zÉAiÉÄÃ?

F ¥Àæ±ÉßUÀ½AzÀ ¥ÉæÃjvÀ£ÁV ¤zÉÃð±ÀPÀ §mÁæAqï 60 zÉñÀUÀ½UÉ ¸ÉÃjzÀ 2000 ¹æöÛà ¥ÀÄgÀĵÀgÀ ¸ÀvÀåPÀxÉUÀ¼À£ÀÄß ¸ÀAUÀ滸ÀÄvÁÛ 3 ªÀµÀðUÀ¼À£ÀÄß PÀ¼ÉzÀªÀ£ÀÄ. ¸ÀªÀÄ¥ÀðuÁ ¨sÁªÀzÀ C£ÀĪÁzÀPÀgÀ, ¥ÀvÀæPÀvÀðgÀ, bÁAiÀiÁUÁæºÀPÀgÀ vÀAqÀzÉÆqÀUÀÆr D¼ÀªÁzÀ ªÉÊAiÀÄQÛPÀ ºÁUÀÆ ̈ sÁªÀ£ÁvÀäPÀ «ZÁgÀUÀ½AzÀ £ÀªÉÄä®ègÀ£ÀÆß MUÀÆÎr¸ÀÄvÁÛ£É. §qÀvÀ£ÀzÉÆA¢V£À ºÉÆÃgÁl, AiÀÄÄzÀÞ, ªÀÄ£ÀĵÀåd£Àå ©üÃw ªÀÄvÀÄÛ £ÀªÀÄä ¨sÀÆUÀæºÀzÀ ¨sÀ«µÀåvÀÄÛ; F «µÀAiÀÄUÀ¼À£ÀÄß PÀÄjvÀÄ ¦æÃw ¸ÀAvÉÆõÀUÀ½AzÀ D¯ÉÆÃa¸ÀĪÀAvÉ ªÀiÁqÀĪÀ avÀæ EzÁVzÉ.

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Human Part 3 (2015) 84 min. English Dir: Yann Arthus-Bertrand Emotions run like currents through the subjects’ voices. That, along with aerial and “listening” shots – shots of subjects “listening” as someone’s voice over plays – makes the viewer think that they are not alone in their empathizing. . The beautiful cinematography and complementary score draws the audience in. This film get it’s viewer’s attention, by making them see a very real and often ugly side of the human condition. It tells a multitude of stories from people

around the world: rich, poor, and notable or not. The viewer is able to relate to or connect with these people because of the truth and brutal honesty behind their stories.

ºÀÆåªÀÄ£ï JPïìmÉAqÉqï ªÀµÀð£ï ¨sÁUÀ-3 (2015) 84 ¤. EAVèÃµï ¤zÉÃð±À£À : AiÀiÁ£ï DxÀð¸ï - §mÁæAqï

¥ÀæeÉUÀ¼À zsÀé¤AiÀÄ°è «zÀÄåwÛ£ÀAvÉ ¥ÀæªÀ»¸ÀĪÀ ¨sÁªÀ£ÉUÀ¼ÀÄ, AiÀiÁªÀÅzÉÆà C±ÀjÃgÀªÁtÂAiÀÄ°è PÉýzÀAvÉ UÁ½AiÀÄ°è vÉð§gÀĪÀ zsÀé¤AiÀÄÄ CwAiÀiÁV

PÁqÀÄvÀÛzÉ. CªÀ£À C£ÀĨsÀÆwAiÀÄ°è £ÉÆÃqÀÄUÀgÀÄ MAzÁV §gÀÄvÁÛgÉ. ̧ ÀĪÀÄzsÀÄgÀ ̧ ÀAVÃvÀ ºÁUÀÆ ̧ ÀÄAzÀgÀ zÀȱÁåªÀ½UÀ¼ÀÄ £ÉÆÃqÀÄUÀgÀ£ÀÄß ¸É¼ÉzÀÄ©qÀÄvÀÛzÉ. £ÀªÀÄä ¸ÀÄvÀÛ® ¥Àæ¥ÀAZÀzÀ C£ÉÃPÁ£ÉÃPÀ d£ÀgÀ PÀxÉUÀ¼À£ÉÆß¼ÀUÉÆAqÀ EzÀÄ ²æêÀÄAvÀ, §qÀªÀ, UÀtå, ¸ÁªÀiÁ£Àå - »ÃUÉ J®èªÀ£ÀÆß £ÉÆÃqÀĪÀ£ÉzÀÄjUÉ vÀAzÀÄ ¤°è¸ÀÄvÀÛzÉ : ¸ÀvÀåzÀ ¤zsÀðAiÀÄ ¥ÁæªÀiÁtÂPÀvÉAiÀÄ£ÀÄß ¥ÀæzÀÀ²ð¸ÀÄvÀÛzÉ.

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Durak ( The Fool) (2014) 116 min. Russian Dir: Yuriy Bykov Durak means ‘the fool’ and is a film about a plumber who is simple and honest at heart who takes upon an entire system of corrupt bureaucrats. In a little town there is a notorious dorm inhabited by 800 people with outcasts and drunkards. One night a water pipe bursts and Nikitin the plumber discovers that things are way more serious- the building may not stand the night. People need to be evacuated immediately. He sets off upon an odyssey by night around the town authorities fighting the red tape. Yann Arthus-Bertrand is not just a director, he’s also an artist, and because of that, the film is honest, creative and composed.

qÀÄågÁPï (zÀ ¥sÀƯï) [2014] 116 ¤. gÀµÀå£ï ¤zÉÃð±À£À : AiÀÄÆj ¨ÉÊPÉÆêï

qÀÆågÁPï JAzÀgÉ ªÀÄÆRð JAzÀxÀð. ¥ÉÊ¥ÀÄUÀ¼À£ÀÄß eÉÆÃr¸ÀĪÀ ¥ÀèA§gÀ£ÉƧâ£À ̧ ÀgÀ¼ÀvÉ ºÁUÀÆ ¥ÁæªÀiÁtÂPÀvÉAiÀÄ£ÀÄß ¤gÀƦ¸ÀĪÀ avÀæ. D Hj£À¯ÉÆèAzÀÄ PÀÄSÁåvÀ ªÀoÁgÀ. C°ègÀĪÀ 800 ªÀÄA¢ PɼÀ¸ÀÛgÀzÀ d£ÀgÀ°è C£ÉÃPÀgÀÄ PÀÄqÀÄPÀgÀÄ, ¤gÀÄzÉÆåÃVUÀ¼ÀÄ. MAzÀÄ gÁwæ §ºÀĪÀĺÀr PÀlÖqÀzÀ°è ¥ÉÊ¥ÉÆAzÀÄ ºÉÆqÉzÀÄ C£ÁºÀÄvÀªÁzÁUÀ ¥ÀèA§gï ¤Qn£ÀߤUÉ PÁtĪÀ ̧ ÀvÀå PÀlÄ UÀA©üÃgÀªÁVgÀÄvÀÛzÉ. ªÀoÁgÀzÀ UÉÆÃqÉUÀ¼ÀÄ D gÁwæAiÀÄ£ÀÄß vÀqÉAiÀįÁgÀªÉA§ C£ÀĪÀiÁ£À PÀÆqÀ ªÀåPÀÛªÁUÀÄvÀÛzÉ. d£ÀgÀ£ÀÄß PÀÆqÀ¯Éà ¸ÀܼÁAvÀj¸À¨ÉÃPÁUÀÄvÀÛzÉ. UÀtågɤ¹PÉÆAqÀ C¢üPÁjUÀ¼ÉÆA¢V£À DºÉÆÃgÁwæAiÀÄ ºÉÆÃgÁl... ¥ÀgÀzÁl... ¦ÃPÀ¯ÁlUÀ¼ÀÄ CªÀ£À£ÀÄß PÀAUÉr¸ÀÄvÀÛªÉAiÉÄÃ? UÉ°è¸ÀÄvÀÛªÉAiÉÄÃ?

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What Happened Ms. Simone(2015) 95 min. English Dir : Liz Garbus Is it possible to tell the story of a Black woman, who is a genius, who experienced abuse and fully embrace the impact of the abuse on her life? Do we have to make her complicit in her abuse? Is it possible to experience a Black woman as a genius and show her process, highlight what informed that genius, versus shaping a narrative that is weighted toward her “damage” This is a documentary about the life and legend Nina Simone, an American singer, pianist, and civil rights activist labelled the “High Priestess of Soul” that combines previously unreleased archival

footage and interviews with Simone’s daughter and friends. The title of the film was taken from the lines of the legendry black poet Maya Angelou. Getting to hear parts of Nina Simone’s diary is priceless.

ªÁmï ºÁå¥À£ïØ «Ä¸ï ¸ÉʪÉÆãï (2015) 95 ¤. EAVèÃµï ¤zÉÃð±À£À : °eï UÁ§ð¸ï

vÀ£Àß fêÀ£ÀzÀ ¤AzÀ£ÉAiÀÄ ¥ÀjuÁªÀĪÀ£ÀÄß ¸ÀA¥ÀÆtðªÁV M¦àPÉƼÀÄîªÀ zÉêÀvÉAiÀÄAvÀºÀ PÀ¥ÀÄàªÀÄ»¼ÉAiÀÄ PÀxÉ ºÉüÀĪÀÅzÀÄ ¸ÁzsÀåªÉ? DPÉUÁzÀ C¥ÀªÀiÁ£ÀPÉÌ CªÀ¼À£Éßà vÀ¦àvÀ¸ÀܼÀ£ÁßV¸À§ºÀÄzÉÃ? PÀ¥ÀÄà ªÀÄ»¼ÉAiÀÄ£ÀÄß zÉêÀvÉAiÀÄAvÉ

PÀAqÀÄ ¤«Äð¹zÀ avÀæªÉÇà CxÀªÁ DPÉUÁzÀ CªÀªÀiÁ£ÀUÀ¼À §UÉV£À PÀxÀ£ÀªÉÇà DVgÀzÉ F ¸ÁPÀëöåavÀæªÀÅ ¤£Á ¸ÉʪÉÆãï JA§ CªÉÄjPÁzÀ ªÉÆlÖªÉÆzÀ® PÀ¥ÀÄà ¦AiÀiÁ£ÉÆà ªÁzÀQ, UÁAiÀÄQ ºÁUÀÆ £ÁUÀjPÀ ºÀPÀÄÌUÀ¼À ¥Àæw¥ÁzÀQAiÀiÁV CªÉÄjPÀzÀ zÀAvÀPÀxÉAiÀiÁzÀ ªÀiÁ£ÀªÀvÁ ªÁ¢AiÀÄ avÀætªÁVzÉ. EwºÁ¸À ¥Àæ¹zÀÞ PÀ¥ÀÄà PÀªÀAiÀÄwæ ªÀiÁAiÀiÁ KAd¯ï CªÀgÀ ̧ Á®ÄUÀ½AzÀ Dj¹zÀ ²¶ðPÉ F ̧ ÁPÀëöå avÀæPÉÌ ¤ÃqÀ¯ÁVzÉ. ¤£Á ̧ ÉʪÀÄ£ï¼ÀÄ vÀ£Àß §zÀÄQ£À ºÉÆÃgÁlªÀ£ÀÄß ¤ªÀð»¹zÀ C¥ÀgÀÆ¥ÀzÀ WÀ½UÉUÀ¼À£ÀÄß £ÀªÀÄä ªÀÄÄAzÉ vÉgÉ¢qÀÄvÀÛzÉ.

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Forbidden Voices (2012) 95 min. English Dir: Barbra Miller Forbidden Voices is a documentary film about the fight for Human Rights and Freedom of Speech of three female bloggers: Yonni Sánchez from Cuba, Zeng Jinyan from China and Farnaz Seifi from Iran.

The film Forbidden Voices explores the motivation and goals of the online activists’ struggle and traces the consequences and political repressions the three women are facing for their courageous activism. The documentary won the Amnesty International Award 2013 and the WACC SIGNIS Human Rights Award 2012, and was nominated for the Swiss Film Award and the Prix de Soleure in 2013.

¥sÁ©ðqÀ£ï ªÁAiÀÄì¸ï (2012) 95 ¤. EAVèÃµï ¤zÉÃð±À£À : ¨Á§ðgÁ «Ä®ègï

ªÀiÁ£ÀªÀ ºÀPÀÄÌUÀ¼À ºÉÆÃgÁl ªÀÄvÀÄÛ ªÁPï ¸ÁévÀAvÀæöåªÀ£ÀÄß PÀÄjvÀ ªÀÄƪÀgÀÄ ªÀÄ»¼Á ¨ÁèPï §gÀºÀUÁwðAiÀÄgÀ zsÀé¤AiÀÄ avÀæt F ¸ÁPÀëöåavÀæ. PÀÆå¨ÁzÀ AiÀiÁ¤ ¸ÁAZÀ¸ï, ZÉÊ£ÁzÀ f£Áå£ï ªÀÄvÀÄÛ EgÁ£ï zÉñÀzÀ ¥sÁgï£Áeï ¹Ã¦ü EªÀgÉà D ªÀÄƪÀgÀÄ ªÀÄ»¼ÉAiÀÄgÀÄ. ¥sÁ©ðqÀ£ï ªÁAiÀÄì¸ï avÀæªÀÅ «zÀÄå£Áä£À eÁ®vÁtUÀ¼À°è §gÉAiÀÄĪÀ ºÉÆÃgÁlUÁwðAiÀÄgÀ bÀ®, DvÀ䫱Áé¸À, UÀÄj ¸ÁzsÀ£ÉUÀ¼À£ÀÄß C£Ééö¸ÀĪÀÅzÀ®èzÉ CzÀgÀ ¥sÀ®ªÁV F ªÀÄÆgÀÄ ªÀÄ»¼ÉAiÀÄgÀÄ JzÀÄj¹zÀ gÁdQÃAiÀÄ ¸ÀAPÀµÀÖUÀ¼À£ÀÆß vÉgÉ¢qÀÄvÀÛzÉ. F avÀæªÀÅ 2013gÀ DªÉÄß¹Ö E£ïlgï ÁåµÀ£À¯ï ¥Àæ±À¹Û ¥ÀqÉ¢gÀÄvÀÛzÉ.

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Amandla!: A Revolution in Four-Part Harmony (2002) 108 min. English Dir: Lee Hirsh This is a documentary film depicting the struggles of black South Africans against the injustices of Apartheid through the use of music. The film takes its name from the Zulu and Xhosa word amandla, which means power. The freedom songs heard in the film have an important historical context. Particularly in the United States, freedom songs have referred to protest songs of the abolitionist, civil rights, and labor movements. Yet, in South Africa, the songs take on a different meaning, referring to a unique collection of songs tied to the struggle for racial

equality during the twentieth century.

The film won the Audience Award and the Freedom of Expression Award at the 2002 Sundance Film Festival, where it was also nominated for the Grand Jury Prize.

CªÀÄAqÁè : gɪÀ®ÆåµÀ£ï E£ï ¥sÉÆÃgï

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F ¸ÁPÀëöå avÀæªÀÅ ¸ÀAVÃvÀzÀ ªÀÄÆ®PÀ ªÀtð¨sÉÃzÀ ¤ÃwAiÀÄ «gÀÄzÀÞzÀ ºÉÆÃgÁlzÀ°è dAiÀÄ¥ÀqÉzÀ zÀQët D¦üæPÁzÀ ªÀÄÆ®¤ªÁ¹UÀ¼À PÀxÀ£À. avÀæzÀ ²Ã¶ðPÉAiÀÄ£ÀÄß dÄ®Ä ªÀÄvÀÄÛ eÉÆøÁ ¨sÁµÉUÀ½AzÀ

vÉUÉzÀÄPÉƼÀî¯ÁVzÉ. CxÁðvï ±ÀQÛ JA§ÄzÁVzÉ. F avÀæzÀ°è PÉý§gÀĪÀ ¸ÁévÀAvÀæöå VÃvÉUÀ¼ÀÄ ZÁwæPÀªÁV §ºÀÄ ªÀÄÄRåªÁVªÉ. CzÀgÀ®Æè ¥ÀæªÀÄÄRªÁV CªÉÄjPÁzÀ°è ¸ÁévÀAvÀæöåzÀ ºÁqÀÄUÀ¼ÀÄ, ¥Àæw¨sÀl£É, ¸ÁªÀiÁfPÀ ºÀPÀÄÌUÀ½UÁV MvÁÛAiÀÄ ªÀÄvÀÄÛ PÁ«ÄðPÀ ZÀ¼ÀªÀ½UÉ ¥ÀæwÃPÀªÁVªÉ. ºÁVzÀÆÝ zÀQët D¦üæPÁzÀ°è F ºÁqÀÄUÀ½VgÀĪÀ CxÀðªÉà ̈ ÉÃgÉ. C°è EªÀÅ 20£Éà ±ÀvÀªÀiÁ£ÀzÀ d£ÁAVÃAiÀÄ ¸ÀªÀiÁ£ÀvÉAiÀÄ ¸ÀAWÀµÀðªÀ£ÀÄß ¥Àæw¤¢ü¸ÀĪÀ VÃvÀUÀÄZÀÒUÀ¼ÁVªÉ. F avÀæªÀÅ ¸À£ïqÁå£ïì avÉÆæÃvÀìªÀzÀ°è UÁæAqï dÆåjPï ¥ÁjvÉÆõÀPÀPÉÌ £ÁªÀĤzÉÃð²vÀªÁVzÉ.

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Manufactured Landscapes (2006) 86 min. English Dir: Jennifer Baichwal The film involves the photographs and videos of photographer and visual artist Ed. Burtynsky’s trip through landscapes that have been altered by large-scale human activity, captured with Super-16mm film. Most of the photographs featured in the film are pieces that are exhibited all over the world and are taken with a “large format field camera. While some would call the work beautiful, his main goal was to challenge notions while raising questions about the interplay of environmental ethics and aesthetics. Unlike most documentaries, there is very little commentary, which allows viewers to take in the images and try to make sense of what they’re seeing, while at the same time the film “tries to shift our consciousness about the world and the way we live in it”.

ªÀiÁå£ÀÄ¥sÁåPÀÑqïð ¯ÁåAqï¸ÉÌÃ¥ïì (2006) 86 ¤., EAVèÃµï ¤zÉÃð±À£À : eɤߥsÀgï ¨ÉÊZÁé¯ï

Jqï §nð¤êAiÀÄ JA§ bÁAiÀiÁUÁæºÀPÀ §ÈºÀvï ªÀiÁ£ÀªÀ ¤«ÄðvÀ ¨sÀÆzÀȱÁåªÀ½UÀ¼À bÁAiÀiÁavÀæ PÀxÀ£ÀªÀ£ÀÄß §ºÀ¼À ¢ÃWÀð PÁ® ºÉuÉzÀ ̧ ÁºÀ¹. zÉÆqÀØ ¦üïïØ PÁåªÀÄgÁUÀ¼À£ÀÄß §¼À¹ vÉUÉAiÀįÁVgÀĪÀ DvÀ£À ¹ÜgÀ avÀæUÀ¼Éà F ¸ÁPÀëöåavÀæzÀ §AqÀªÁ¼À. ¥ÀæwAiÉÆAzÀÄ ¹ÜgÀavÀæªÀÇ ¥Àj¸ÀgÀzÀ ªÉÄð£À ªÀiÁ£ÀªÀ£À zÁ½AiÀÄ£ÀÄß ¸Áj ºÉüÀĪÀAwzÀÝgÀÆ CzÀgÀ §UÉÎ K£À£ÀÆß ªÀiÁvÀ£ÁqÀĪÀÅ¢®è. ¸ÀjvÀ¥ÀÄàUÀ¼À ªÀÄd®£ÀÄß ªÀiÁvÀÄUÀ¼À°è »r¢qÀzÉ CªÀÅ GAlĪÀiÁqÀĪÀ ¥Àæ¨sÁªÀªÀ£ÀÄß £ÉÆÃqÀÄUÀ¤UÉà ©nÖgÀĪÀÅzÀÄ E°è£À «±ÉõÀ. F avÀæªÀÅ “£ÁªÀÅ fë¸ÀÄwÛgÀĪÀ ¥Àæ¥ÀAZÀzÀ §UÉV£À £ÀªÀÄä ¥ÀæeÉÕAiÀÄ£ÀÄß «¸ÀÛj¸ÀĪÀ ¸ÁPÀëöåavÀæ JA§ÄzÀgÀ°è ¸ÀA±ÀAiÀÄ«®è.

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5 Broken Cameras (2012) 94 min. English Dir : Emad Burant and Guy Davidi 5 Broken Cameras is a first-hand account of protests in Bil’in, a West Bank village affected by the Israeli West Bank barrier. The documentary was shot almost entirely by Palestinian farmer Emad Burnat, who bought his first camera in 2005 to record the birth of his youngest son. In 2009 Israeli co-director Guy Davidi joined the project. Structured around the destruction of Burnat’s cameras, the filmmakers’ collaboration follows one family’s evolution over five years of turmoil. The film won a 2012 Sundance Film Festival award; it won the Golden Apricot at the 2012 Yerevan International

Film Festival, Armenia, for Best Documentary Film, won the 2013 International Emmy Award and was nominated for a 2012 Academy Award.

5 ¨ÉÆæÃPÀ£ï PÁåªÀÄgÁ¸ï (2012) 94 ¤. EAVèÃµï ¤zÉÃð±À£À : JªÉÄqï §ÆågÁAmï ªÀÄvÀÄÛ UÉÊ qÉër

F avÀæªÀÅ E¸Éæð£À ªÉ¸ïÖ¨ÁåAPï UÁæªÀÄzÀ°è £ÀqÉzÀ ¥Àæw¨sÀl£ÉAiÀÄ ¥ÀævÀåPÀë ªÀgÀ¢. EzÀgÀ §ºÀÄvÉÃPÀ awæÃPÀgÀt CxÀªÁ ªÀgÀ¢ ¥Áå¯É¸ÉÖöʤ£À §ÆågÁAmïjAzÀ awævÀªÁVzÉ. DvÀ vÀ£Àß ªÉÆzÀ® ºÀªÁå¹ PÁåªÀÄgÁªÀ£ÀÄß 2005 gÀ°è vÀ£Àß PÉÆ£ÉAiÀÄ ªÀÄUÀ£À ºÀÄnÖzÀ ¢£ÀªÀ£ÀÄß awæÃPÀj¸À®Ä

Rjâ¹gÀÄvÁÛ£É. 2009gÀ ªÉüÉUÉ §ÆågÁAl£À awæÃPÀgÀtzÀ AiÉÆÃd£ÉUÉ UÀrAiÀiÁZÉAiÀÄ ¸ÀºÀ ¤zÉÃð±ÀPÀ ¸ÉÃjPÉƼÀÄîvÁÛ£É. D ªÉüÉUÉ DvÀ 5£Éà PÁåªÀÄgÁªÀ£ÀÄß PÉƼÀÄîªÀ ¥Àj¹Üw §AzÉÆzÀUÀĪÀ ¸À¤ßªÉñÀzÀ ¸ÀÄvÀÛ PÀxÉ ºÉuÉAiÀįÁVzÉ. F PÀxÉAiÀÄÄ UÁeÁ¥ÀnÖAiÀÄ°è ªÁ¸À«gÀĪÀ MAzÀÄ PÀÄlÄA§zÀ zÁgÀÄt avÀætªÁVzÉ. F avÀæªÀÅ 2012gÀ ̧ À£ïqÁå£ïì avÉÆæÃvÀìªÀ ¥Àæ±À¹Û, UÉÆîأï K¦æPÁmï, 2013gÀ J«Ää ¥Àæ±À¹ÛUÉ ¨sÁd£ÀªÁVzÉ. ºÁUÀÆ 2012gÀ CPÁqÉ«Ä ¥Àæ±À¹ÛUÀÆ £ÁªÀĤzÉÃð²vÀªÁVzÉ.

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The Law in these Parts (2011) 86 min. English Dir : Ra’ anan Alexandrowicz The documentary is divided into five chapters and reviews the legal history of Israel’s occupation of Arab territories. Alexandrowicz interviews a number of the judges who were responsible for carrying out the orders of military commanders. Only judges who presided over occupation-related cases are interviewed; as Alexandrowicz noted, “This film is not about the people who broke the law. It’s about the people who wrote the law.” It won the Best Documentary award at the 2011 Jerusalem Film Festival and the World Cinema Grand Jury Prize in Documentary at the 2012 Sundance Film Festival.

zÀ ¯Á E£ï ¢Ã¸ï ¥Ámïìð (2011) 86 ¤. EAVèÃµï ¤zÉÃð±À£À : gÁ’ D£ï C¯ÉPÁìAræPÉÆëZï.

F ¸ÁPÀëöåavÀæªÀÅ LzÀÄ ¨sÁUÀUÀ¼À£ÀÄß ºÉÆA¢zÀÄÝ E¸Éæïï zÉñÀªÀÅ CgÀ¨ï £É¯ÉUÀ¼À°è ªÀiÁrzÉ J£À߯ÁzÀ CwPÀæªÀÄtzÀ £ÁåAiÀÄ ¤ÃwAiÀÄ ZÁjwæPÀ zÁR¯ÉAiÀiÁVzÉ. «Ä°lj DeÉÕUÀ¼À£ÀÄß eÁjUÉƽ¹zÀ ºÀ®ªÁgÀÄ £ÁåAiÀiÁ¢Ã±ÀgÀ£ÀÄß ¸ÀAzÀ²ð¹ C¯ÉPÁìAræPÉÆ«Zï ¸ÀàµÀÖªÁV “F avÀæªÀÅ PÀ£ÀÆ£ÀÄ ªÀÄÄjzÀªÀgÀ §UÉÎAiÀÄ®è; PÁ£ÀÆ£ÀÄUÀ¼À£ÀÄß §gÉzÀªÀgÀ §UÉÎ’ J£ÀÄßvÁÛgÉ. F avÀæªÀÅ 2011gÀ°è eÉgÀĸɯɪÀiï£À°è CvÀÄåvÀÛªÀÄ ¸ÁPÀëöåavÀæ JAzÀÆ 2012 gÀ°è ¸À£ïqÁ£ïì avÉÆæÃvÀìªÀzÀ°è PÀÆqÀ UÁæAqï dÆåj ¥Àæ±À¹Û ¥ÀqÉ¢gÀÄvÀÛzÉ.

15

Roots (1977) 90 min. English Dir: David L Wolper Roots is a television miniseries in the USA based on Alex Haley’s 1976 novel, Roots: The Saga of an American Family; the series first aired, on ABC-TV, in 1977. Roots received 37 Emmy Award nominations and won nine. It holds a record as the third highest rated episode for any type of television series, and the second most watched overall series

in U.S. television history

Kunta Kinte is abducted from his African village, sold into slavery, and taken to America. He makes several escape attempts until he is finally caught and maimed. He is made to accept an American name to be later sold to slave masters.

gÀÆmïì (1977) 90 ¤. EAVèÃµï ¤zÉÃð±À£À: qÉëqï ªÀÅ®àgï C¯ÉPïìºÉð gÀavÀ

‘zÀ ¸ÁUÀ D¥sï J£ï CªÉÄPÀjPÀ£ï ¥Áå«Ä°’ JA§ PÀzÀA§j DzsÁjvÀ QgÀÄ mÉ°¸ÀgÀtÂ. K¼ÀÄ PÀAw£À F PÀxÀ£ÀªÀÅ CªÉÄjPÀzÀ M§â PÀ¥ÀÄà ¥ÀæeÉAiÀÄ ¥ÀƪÀðzÀ ºÀÄqÀÄPÁzÁÝVzÉ. PÀAw£À ªÉÆzÀ® ¨sÁUÀzÀ°è PÀAlPÀÄAmÉ JA§

ªÀÄÆ® ¤ªÁ¹AiÀÄ£ÀÄß UÉÆwÛ®èzÀ MAzÀÄ D¦æPÁzÀ PÁr£À°è ¸ÉgÉ»rzÀÄ fÃvÀPÁÌV ªÀiÁgÁl ªÀiÁqÀ®Ä ¹zÀÝUÉƽ¸ÀĪÀ ¥Àæ¸ÀAUÀ«zÉ. ªÀÄÄAzÉ K£É®è ¥ÀæAiÀÄvÀß ªÀiÁrzÀgÀÆ ©½ zÀtÂUÀ¼À PÀgÁ¼À ªÀÄĶ×AiÀÄ°è C©üªÀåQÛ »Ã£ÀªÁV G½AiÀĨÉÃPÁUÀÄvÀÛzÉ. 37 CAvÁgÁ¶ÖçÃAiÀÄ ‘J«Ä’ ¥Àæ±À¹ÛUÀ½¹gÀĪÀ F ¸ÀgÀt F ªÀgÉUÀÆ CvÀåAvÀ ºÉZÀÄÑ «ÃPÀëuÉAiÀiÁVgÀĪÀÅzɤ¹zÉ.

16

Immigration Battle(2015) 114 min. English Dir : Shari Robertson and Michael Camerini More than 2 million undocumented immigrants have been deported since President Barack Obama took office, a number that lawmakers on both side of the aisle agree points to a broken immigration system. A wide range of solutions has been proposed, everything from increasing deportations and strengthening the border, to expanding protections for millions in the country illegally. For now, the push for comprehensive reform is stalled in Congress. But when the debate resurfaces, here are several figures that could be key to the debate.

E«ÄUÉæõÀ£ï ¨Áål¯ï (2015) 114 ¤. EAVèÃµï ¤zÉÃð±À£À : ±Áj gÁ§mïð¸À£ï ªÀÄvÀÄÛ ªÉÄÊPÀ¯ï PÁå«Äj¤

CªÉÄjPÀzÀ CzsÀåPÀë£ÁV §gÁPï M¨ÁªÀÄ §AzÁV¤AzÀ 2 «Ä°AiÀÄ£ï ¤gÁ²ævÀ ªÀ®¹UÀgÀÄ UÀr¥ÁgÁVzÁÝgÉ. £ÁåAiÀÄzÀ PÀlPÀmÉAiÀÄ°è JgÀqÀÆ PÀqÉAiÀĪÀgÀÆ £ÁåAiÀÄ £ÀªÀÄäzÉ£ÀÄߪÀ «±Áé¸ÀzÀ°èzÀÄÝ PÁ£ÀƤ£À°è K£ÉÆà vÉÆqÀQgÀĪÀÅzÀ£ÀÄß M¦àPÉƼÀÄîvÁÛgÉ. E£ÉßöÊ ºÉZÀÄÑ ªÀ®¹UÀgÀ£ÀÄß ºÉÆgÀUÀlÖ¨ÉÃPÉ£ÀÄߪÀÅzÀjAzÀ »rzÀÄ UÀrUÀ¼À£ÀÄß ¨sÀzÀæ¥Àr¹ J£ÀÄߪÀªÀgÉUÉ ¸À®ºÉUÀ½ªÉ; ºÉÆgÀV¤AzÀ §AzÀªÀgÀ£ÀÄß ¤gÁ²ævÀgÉ£ÀߨÉÃPÉ? ªÀ®¹UÀgÉ£Àß ¨ÉÃPÉ. CxÀªÁ CªÀjUÉ ̧ ÀPÀ® ̧ Ë®¨sÀå PÉÆqÀ¨ÉÃPÉ EvÁå¢ «ZÁgÀUÀ¼ÀÄ ̧ ÀzÀ£ÀzÀ°è DVAzÁUÉÎ §ÄV¯ÉzÀÄÝ d£ÀgÀ°è DvÀAPÀ ªÀÄÆr¸ÀÄvÀÛzÉ.

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Apartheid did not die (1998) 52min. English Dir: John Pilger John Pilger was banned from South Africa for his reporting during the apartheid era. On his return thirty years later with Alan Lowery, he describes the extraordinary generosity of a liberated people, but asks who are the true beneficiaries of a democracy- the black majority or the white minority?

The cruelty and injustice were underwritten by an economic apartheid, which regarded people as no more than cheap expendable labor. It was backed by great business corporations in South Africa, Britain, the rest of Europe, and the United States. Today, the same system is called - without a trace of irony - the “free market.”

C¥ÁvÉÃðqï rqï £Ámï qÉÊ (1998) 52 ¤. EAVèÃµï ¤zÉÃð±À£À : eÁ£ï ¦®Ógï

¥ÀæSÁåvÀ AiÀÄÄzÀÞ-¥Àæw¤¢ü/¥ÀvÀæPÀvÀð eÁ£ï «®ègï £À£ÀÄß zÀQët D¦üæPÀ¢AzÀ ¤µÉÃzÀ ºÉÃj ºÉÆgÀUÀĽ¹gÀÄvÁÛgÉ. 30 ªÀµÀðUÀ¼À £ÀAvÀgÀ DvÀ ªÀÄvÉÛ C°èUÉ PÁ°lÖ ¸ÀªÀÄÄzÁAiÀÄ ªÀtð¨ÉÃzsÀ ¤Ãw¬ÄAzÀ ªÀÄÄPÀÛªÁVgÀÄvÀÛzÉ. ¸ÀªÀÄÄzÁAiÀÄzÀ C¸ÁzsÁgÀtªÁzÀ GzÁgÀvÉAiÀÄ£ÀÄß ªÀtÂð¸ÀĪÁUÀ ¥ÀæeÁ¥Àæ¨sÀÄvÀézÀ GvÀÛªÀÄ

¥sÀ¸À®Ä ¹QÌzÀÄÝ C®à¸ÀASÁåvÀ ©½AiÀÄjUÉÆà CxÀªÁ §ºÀĸÀASÁåvÀ ªÀÄÆ®¤ªÁ¹UÀ½UÉÆà JA§ UÀA©üÃgÀ ¥Àæ±ÉßAiÀÄ£ÉßvÀÄÛvÁÛgÉ. PÀjAiÀÄjUÉ PÀrªÉÄ ¸ÀA§¼ÀPÉÌ PÉ®¸À ªÀiÁqÀĪÀ CªÀPÁ±ÀUÀ¼ÀÄ ºÉaÑzÀAvÉ ©½AiÀÄjUÉ vÀªÀÄä §AqÀªÁ¼ÀªÀ£ÀÄß ºÉÆgÀV£À ¥Á±ÁÑvÀå PÁ¥ÉÆðgÉõÀ£ïUÀ¼À°è vÉÆqÀV¹ CzsÀðPÀªÁV ªÀÄvÀÛµÀÄÖ ¥À槮gÁUÀ®Ä ªÀiÁvÀæ ¸ÁzsÀåªÁV¹zÉ.

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Kutty Japanin Kuzhandaigal (1990) 63 min. Tamil Dir: Challam Bennurkar The film focuses on the plight of young poverty-stricken children working in Savakis in the late 1980s, and the Government’s neglect of them. The children worked in factories famed for producing fireworks and matches. The film takes its name from the nickname of Sivakasi, (Mini-Japan), a name given to the town for its high technology and business standards.

PÀÄnÖ d¥Á¤£ï PÀļÀAzÉÊUÀ¼ï (1990) 63 ¤. vÀ«Ä¼ÀÄ ¤zÉÃð±À£À : ZÀ®èA ¨É£ÀÆßgÀÌgï

F avÀæªÀÅ vÀ«Ä¼ÀÄ £Ár£À ²ªÀPÁ² JA§ PÉÊUÁjPÁ £ÀUÀgÀzÀ°è ¨Á® PÁ«ÄðPÀgÁV zÀÄrAiÀÄĪÀ ªÀÄPÀ̼À PÀÄjvÁzÀzÀÄÝ. C°è£À ¥ÀmÁQ ªÀÄvÀÄÛ ªÀÄvÁ¥ÀÄUÀ¼À£ÀÄß vÀAiÀiÁj¸ÀĪÀ PÁSÁð£ÉUÀ¼À°è ºÀUÀ°gÀļɣÀßzÉ ¸ÀA§¼À«gÀ° AiÀiÁªÀ ªÀÄÄAeÁUÀævÉAiÀÄÆ E®èzÉ ±Á¯Á ªÀAavÀ ªÀÄPÀ̽gÀĪÀ £ÀUÀgÀPÉÌ ‘aPÀÌ-d¥Á£ï’ JA§ ©gÀÄzÀÄ ¤ÃrgÀĪÀÅzÀ£ÀÄß CtQ¸ÀĪÀAvÉ PÁtÄvÀÛzÉ. F avÀæPÉÌ ºÀ®ªÁgÀÄ CAvÁgÁ¶ÖçÃAiÀÄ ¥ÀÄgÀ¸ÁÌgÀUÀ½zÀÄÝ ̈ sÁgÀvÀzÀ ̈ Á® PÁ«ÄðPÀ ¥ÀzÀÞw PÁ£ÀÆ£ÀÄ gÀƦ¸À®Ä ¥ÉæÃgÉÃ¥ÀuÉAiÀiÁzÀ LwºÁ¹PÀ avÀæ.

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Garam Hawa ( 1972) 130 min. Hindi Dir : M S Satyu The film is based on an unpublished short story by noted Urdu writer Ismat Chughtai and it deals with the plight of a North Indian Businessman and his family, in the period of post partition in 1947. In the grim months, after the assassination of Mahatma Gandhi in 1948, film’s protagonist and patriarch of the family Salim Mirza, deals with the dilemma of whether to move to Pakistan as many of his relatives or stay back. The film details the slow disintegration of his family, and is one of the most poignant films made on India’s partition. It remains one of the few serious films dealing with the post-Partition plight of Muslims in India. It is often credited with pioneering a new wave of Art cinema movement in Hindi Cinema.

UÀgÀA ºÀªÀ (1973) 130 ¤. »A¢ ¤zÉÃð±À£À : JA.J¸ï. ¸ÀvÀÄå

F avÀæªÀÅ E¸Àävï ZÀÄPÁÛAiÀiï CªÀgÀ C¥ÀæPÀnvÀ GzÀÄð PÀxÉAiÀÄ£ÁßzÀj¹ ¤«Äð¹zÀ ¨sÁgÀvÀzÀ avÀæ EwºÁ¸ÀzÀ°è Cw ªÀÄÄRå avÀæ. 1947gÀ «¨sÀd£ÉAiÀÄ ¸ÀAzÀ¨sÀðzÀ°è ¨sÁgÀvÀzÀ°è G½AiÀÄ®Ä EaÒ¹zÀ ªÀÄĹèA PÀÄlÄA§ UÁA¢üÃfAiÀÄ PÉƯÉAiÀÄ £ÀAvÀgÀ CvÀAvÀæPÉÌ ¹PÀÄÌ vÀ®èt¸ÀĪÀ avÀæ EzÁVzÉ. ¨sÁgÀvÀzÀ «¨sÀd£ÉAiÀÄ «ZÁgÀªÀ¤ßlÄÖPÉÆAqÀÄ ¤«Äð¹zÀ Cw UÀA©üÃgÀ avÀæ EzÁVzÀÄÝ 73gÀ ±ÉæõÀ× avÀæ ¥Àæ±À¹Û ¥ÀqÉ¢gÀÄvÀÛzÉ.

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Court (2014) 116 min. Hindi Dir: Chaitanya ThamhaneA sewerage worker’s dead body is found inside a manhole in Mumbai. An ageing folk singer is tried in court on charges of abetment of suicide. He is accused of performing an inflammatory song which might have incited the worker to commit the act. This film follows the personal lives of the Judge, the Public Prosecutor & the activist’s lawyer as the case meanders its way across months courtesy of numerous excuses and delays.

PÉÆÃmïð (1014) 116 ¤. »A¢ ¤zÉÃð±À£À : a£ÀäAiÀÄ vÀªÀiÁ£É

ªÀÄÄA¨ÉÊ£À M¼ÀZÀgÀArAiÀÄ UÀÄArAiÀÄ°è ̧ À¥sÁ¬Ä PÀªÀÄðZÁjAiÉƧâ C¸ÀĤÃjzÁÝ£É. ªÀAiÉÆêÀÈzÀÞ d£À¥ÀzÀ ºÁqÀÄUÁgÀ£ÉƧâ£À£ÀÄß vÀ£Àß ºÁqÀÄUÀ¼À ªÀÄÆ®PÀ PÀ«ÄðPÀ£À DvÀäºÀvÉåUÉ ¥ÉæÃgÉÃ¥ÀuÉ ¤ÃrzÁÝ£ÉA§ PÁgÀtPÉÌ PÀmÉ PÀlmÉ ºÀwÛ¸À¯ÁUÀÄvÀÛzÉ. £ÁåAiÀiÁ®AiÀÄzÀ »AiÀÄjAUïUÀ¼ÀÄ ªÀÄÄAzÉ ªÀÄÄAzÉ ¸ÁUÀÄvÁÛ ºÉÆÃzÀAvÉ ¥À©èPï ¥Áæ¹PÀÆålgï£À, £ÁåAiÀiÁ¢üñÀ£À ºÁUÀÆ ªÀQîgÀ ªÀAiÀÄQÛPÀ fêÀ£À PÀæªÀÄUÀ¼ÀÄ C£ÁªÀgÀtUÉƼÀÄîvÀÛzÉ.

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Good Night and Good Luck (2005) 93 min. English Dir: George Clooney Set in 1953, during the early days of television broadcast journalism. Edward R. Murrow (and his dedicated staff — headed by his co-producer Fred Friendly and reporter Joseph Wershba in the CBS newsroom—defy corporate and sponsorship pressures, and discredit the tactics used by Joseph Mc Carthy during his crusade to root out Communist elements within the government. It focuses on the theme of media responsibility, and also addresses

what occurs when the media offer a voice of dissent from government policy. The movie takes its title (which ends with a period or full stop) from the line with which Murrow routinely signed off his broadcasts.

UÀÄqï £ÉÊmï CAqï UÀÄqï ®Pï (2005) 93 ¤. EAVèÃµï ¤zÉÃð±À£À : eÁeïð PÀÆè¤

zÀÆgÀ zÀ±Àð£À GzÀåªÀÄzÀ ¥ÁægÀA¨sÀzÀ ¢£ÀUÀ¼À°è J¯ÉPÁÖç¤Pï ªÀiÁzÀåªÀĪÉA§ ¥Àj¨sÁµÉ ̧ ÀȶÖAiÀiÁVgÀzÉ ±ÀÄzÀÞ ¥ÀwæPÉÆÃzÀåªÀĪɤ¹vÀÄÛ. PÁgÉÆàgÉÃmï ¥ÁæAiÉÆÃdPÀvÀézÀ

¥ÀjPÀ®à£É CzÉà vÁ£É ºÀÄnÖzÀÄÝ, ªÉÄPïPÁvÉðAiÀÄ ¸ÀPÁðgÀzÀ°è PÀªÀÄÄ夸ïÖ aAvÀ£ÉUÀ¼À£ÀÄß £É®¸ÀªÀÄ ªÀiÁqÀĪÀ ºÀÄ£ÁßgÀªÀ£ÀÄß JqÀéqïð ªÀÄÄgÉÆæ ªÀÄvÀÄÛ DvÀ£À ¹§âA¢ JzÀÄj¹ ¤®è¨ÉÃPÁUÀÄvÀÛzÉ. «ÄÃrAiÀiÁzÀ dªÁ¨ÁÝj, ¸ÀPÁðgÀzÀ ©V ªÀÄĶ×UÀ¼À£ÀÄß ¤gÀƦ¸ÀĪÀ F avÀæzÀ ºÉ¸ÀgÀ£ÀÄß ¥Àæw ¢£À PÁAiÀÄðPÀæªÀÄPÉÌ ªÀÄÄPÁÛAiÀÄ ºÉüÀĪÁUÀ §¼À¸ÀĪÀ ±ÀĨsÀ ºÁgÉÊPÉAiÀÄ ªÀiÁvÀ£ÀÄß ¸ÀÆZÀåªÁV EqÀ¯ÁVzÉ.

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Escape from Sobibar (1997) 143 min. English Dir: Jack Gold Sobibar is a small village in Eastern Poland where the Nazi regime created a concentration camp for the Jewish community. While other camps were for labour and punishment, this was built solely for their extermination. A small group of Jews are kept back from the gas chambers to run the camp under the strict Nazi Guard. This story of what life was for those who had to watch their kith and kin die pushes the human endurance to its limits. The spirit of humanity when desperate bounces back magnificently. This film is a historical reconstruction of the escape of a few hundred from the Death Camp when about a quarter of a million Jews executed.

J¸ÉÌÃ¥ï ¥ÀæA ¸Á§¨Ágï (1997) 143 ¤. EAVèÃµï ¤zÉÃð±À£À : eÁPï UÉÆïïØ

¸Á©¨Ágï JA§ÄzÀÄ ¥ÀƪÀð ¥ÉƯÁåAr£À MAzÀÄ ¸ÀtÚ ºÀ½î. DªÀÄð£ï DPÀæªÀÄtzÀ £ÀAvÀgÀ C¯ÉÆèAzÀÄ §AiÀÄ®Ä §A¢SÁ£É ¤ªÀiÁðtªÁVgÀÄvÀÛzÉ. EvÀgÉ §A¢üSÁ£ÉUÀ¼ÀÄ ²PÉë ºÁUÀÆ fÃvÀPÁÌzÀgÉ EzÀÄ PÉÊ¢UÀ¼À ¤ªÀÄÆð®£ÉUÉAzÉà PÀlÖ¯ÁzÀzÀÄÝ. PÉ®¸À zÉÆqÀĪÀ £É¥ÀzÀ°è PÀgÉvÀAzÀ AiÀĺÀÆ¢ d£ÀgÀ£ÀÄß ¸À¢Ý®èzÉ «µÁ¤®zÀ PÉÆÃuÉUÀ½UÉ ºÁQ ¸ÀÄlÄÖºÁPÀ¯ÁUÀĪÀ ªÀåªÀ¹ÜvÀ £ÀgÀ§°AiÀÄ£ÀÄß ¸ÀȶֹzÀ £Áfó ¥ÉưøÀgÀÄ PÉ®ªÀÅ AiÀĺÀÆ¢UÀ¼À£ÀÄß ¸Á«UÉ vÀ¼ÀîzÉ G½¹PÉÆArgÀÄvÁÛgÉ. CªÀgÀÄ ²©gÀzÀ PÁAiÀÄ𠤪ÀðºÀuÉUÉ ¨ÉÃPÁzÀªÀgÀÄ. vÀªÀÄä fêÀ G½¹PÉƼÀî®Ä vÀªÀÄä §AzsÀÄUÀ¼À ¸ÁªÀ£ÀÄß £ÉÆÃqÀ¨ÉÃPÁzÀ ¥Àj¹ÜwAiÀÄ MvÀÛqÀ ºÀvÁµÉAiÀÄ°è ¸ÁévÀAvÀæöåzÀ D¸É aUÀÄgÉÆqÉÀAiÀÄÄvÀÛzÉ.

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Kadu (1973) 147 min. Kannada Dir: Girish Karnad Kaadu is a 1973 Kannada language black-and-white film directed by Girish Karnad, based on a novel of the same name by Srikrishna Alanahalli, and starring Master G. S. Nataraj, Amrish Puri and Nandini Bhaktavatsala in the lead roles. The film had three awards at the 21st National Film Awards.

PÁqÀÄ (1973) 147 ¤. PÀ£ÀßqÀ ¤zÉÃð±À£À : Vjñï PÀ£Áðqï

PÀ£ÀßqÀzÀ ºÉƸÀ C¯ÉAiÀÄ ̄ ÉÃRPÀgÀ°è CUÀæUÀtå£É¤¹PÉÆArzÀÝ ²æÃPÀȵÀÚ D®£ÀºÀ½îAiÀĪÀgÀ PÁzÀA§j DzsÁjvÀ avÀæ PÁqÀÄ. ¥ÀÄlÖ ºÀÄqÀÄUÀ£ÉƧâ£À PÀÄvÀƺÀ®zÀ PÀtÄÚUÀ¼À°è £ÀªÀÄä ¥Àæ¥ÀAZÉ C£ÁªÀgÀtUÉƼÀÄîªÀ F PÀxÉAiÀÄ£ÀÄß Vjñï PÁ£ÁðqÀ PÀ¯ÁvÀäPÀªÁV awæÃPÀj¹zÁÝgÉ. D ªÀµÀðzÀ ±ÉæõÀ× avÀæ ¥Àæ±À¹Û ¥ÀqÉzÀ F avÀæzÀ ªÀÄÆ®PÀ CªÀÄjñï¥ÀÄj PÀ£ÀßqÀ avÀægÀAUÀPÉÌ ¥ÁzÁ¥ÀðuÉ ªÀiÁqÀÄvÁÛgÉ. CªÀgÉÆA¢UÉ £ÀA¢¤ ¨sÀPÀÛªÀvÀì®, ¯ÉÆÃPÉÃ±ï ºÁUÀÆ ¨Á® PÀ¯Á«zÀ£ÁV £ÀlgÁeï vÁgÁAUÀtzÀ°èzÁÝgÉ.

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Sampathige Sawaal (1973) 148 min. Kannada Dir: A V Sheshagiri Rao It is a 1974 Kannada drama film produced by A. N. Murthy, based on a play of the same name written by Pi. Bi. Dhuttaragi. The film stars Raj Kumar Vajramuni and Manjula in lead roles. The screenplay, dialogues and lyrics for the soundtracks were written by Chi. Udaya Shankar. The story is a typical of the times of the Zamindaari upper hand in the society and a down trodden working class struggle for economic and socialequity. The film was a musical blockbuster with all the songs composed by G. K. Venkatesh considered evergreen hits. Rajkumar debuted as a playback singer with the track “Yaare Koogadali” from the film which became an instant hit among the audiences. He would then go on to sing regularly for the rest of his films.

¸ÀA¥ÀwÛUÉ ¸ÀªÁ¯ï (1973) 148 ¤. PÀ£ÀßqÀ ¤zÉÃð±À£À : J. «. ±ÉõÀVj gÁªï

¦.©. zÀvÀÛgÀVAiÀĪÀgÀ ¸ÀA¥ÀwÛUÉ ¸ÀªÁ®Ä JA§ PÁzÀA§jAiÀÄ £ÉÃgÀ ¤gÀÆ¥ÀuÉ F avÀæ. D PÁ®WÀlÖzÀ°è zÉñÀzÀ ¸ÀªÀĸÉåUÀ¼À£ÀÄß ©A©¸À¯ÉAzÉà ¸ÀªÀĸÉåAiÀÄ ªÀÄr®°è ¥ÁvÀæUÀ¼À£ÀÄß ¸ÀȶָÀÄwÛzÀÄÝ ªÁrPÉ. CzÉà GzÉÝñÀ avÀægÀAUÀPÀÆÌ EzÀÄÝ d«ÄãÁÝj ¥ÀzÀÞwAiÀÄ «gÀÄzÀÞ ¹rzÉüÀĪÀ ¥ÁvÀæªÀ£ÀÄß ¤gÀƦ¸À¯ÁVzÉ. ªÀgÀ£Àl qÁ. gÁdPÀĪÀiÁgï, ªÀdæªÀÄĤ ªÀÄvÀÄÛ ªÀÄAdļÀ CªÀgÀÄ vÁgÁAUÀtzÀ°èzÀÄÝ a. GzÀAiÀıÀAPÀgï CªÀgÀ VÃvÀ gÀZÀ£ÉUÉ f.PÉ. ªÉAPÀmÉÃ±ï ¸ÀAVÃvÀ ¤ÃrzÁÝgÉ. F avÀæzÀ J¯Áè ºÁqÀÄUÀ¼ÀÆ PÀ£ÀßrUÀgÀ°è agÁAiÀÄĪÁV G½¢ªÉ. qÁ. gÁeïgÀªÀgÀÄ F avÀæ¢AzÀ »£Éß¯É UÁAiÀÄ£ÀPÉÌ Cr¬ÄlÄÖ D £ÀAvÀgÀ vÀªÀÄä J¯Áè ºÁqÀÄUÀ¼À£ÀÄß vÁªÉà ºÁrPÉƼÀÄîvÁÛgÉ.