Killa trailers (updated)

thanks to Xhobdo..

thanks to Saurabh..


15 Responses to “Killa trailers (updated)”

  1. Looks very nice. Wonder if DVDs of Marathi films are available.


  2. First look poster of Hamari Adhuri Kahani. Directed by Mohit Suri.

    Thanks 🙂


  3. Yes I was waiting for this one. Great promise seen here.

    Another one that one needs to watch is Paresh Mokashi’s delightful ELIZABETH EKADASHI. A charming kid-film. Mokashi is a fantastic film-maker who has an uncanny gift of touching on complex topics and simplifying it without ANY loss of essence or seriousness of the topic itself. The iconic HARISHCHANDRACHI FACTORY was just a pre-cursor to the fine talent that he honed. And it shows in ELIZABETH EKADASHI. Highly recommended. Pandharpur has never looked so glorious.


    • An Jo: Thanks much for the heads up on Elizabeth Ek.., it had somehow slipped by my radar. Do want to watch it. Incidentally apart from Fandry (which was at a different level altogether), from last year I enjoyed Tapaal and Rege as well. Narbachi Wadi too is very watchable.


  4. I can find Fandry and Elizabeth Ekadasi on from where I am ordering the two. Deoo too. Sutradhar, Balak Palak, any good? Premachi Goshta?


    • Utkal: Among the last 3 names you mention, I have only seen Balak Palak. But I don’t think any of these 3 films are anything special, think you can eadily avoid these. Of course, apart from Fandry, Deool, Elizabeth Ekadashi, I would recommend Valu (by the director of Vihir and Deool, Umesh Kulkarni. It Atul Kulkarni and Girish Kulkarni, the latter has also written this film as well Vihir and Deool) and especially Gabhricha Paus very strongly (it’s my favourite new-age Marathi film after Vihir). And also Shala. And yeah, if you are looking for rooted Marathi films which also have a certain European cinema vibe, check out Gandha and Nirop (especially the former, the director Sachin Kundalkar took one of his own stories from Gandha and made Aaiyaa out of it). Then there is Masala (this has Girish Kulkarni in lead), Harishchandrachi Factory (which An Jo mentions above), Natrang (which has outstanding central performance by Atul Kulkarni). Recently Tapaal was quite good as well.


  5. Dang…i missed this movie when it was playing at the local film festival…instead we went and watched Margarita with a Straw, which was not bad in parts. I have heard very good things about this movie. Bummed that COURT did not make it to the fest here too 😦


  6. Official remake of Srijit’s Hemlock Society: Welcome Zindagi


  7. Two songs from ‘ Welcome Zindagi’ official remake of Srijit’s ‘ Hemlock Society’


  8. Very strong review of “Killa” by The Hollywood Reporter-

    A boy is forced to move with his widowed mother to a lush Indian coastal town in an outstanding first feature

    By Deborah Young
    October 22, 2014 | 3:36pm EDT

    “In The Fort, Avinash Arun’s outstanding first feature, an 11-year-old Indian boy who has just lost his Dad is forced to adapt to a new school in a small village. It’s the simplest story imaginable but the director’s grasp of child psychology grippingly depicts the boy’s anxiety and feeling of being different, while his sensitive cinematic language sets these in the wider context of a coming of age story. It won the Crystal Bear for best film in the Generation K-Plus section in Berlin this year as well as a special jury award in Kyoto’s children’s festival and has just picked up silver honors in Mumbai’s Indian Gold section. This is the kind of quality film that knows no age borders, though it’s easy to see why younger audiences would tune in.

    Set in a tropical paradise of a small coastal town in Konkan, the film is intimately interwoven with forests, animals, a lake and the sea. These essential elements become the stage on which young Chinu (Archit Davadhar) struggles for acceptance and identity when his mother (Marathi actress Amruta Subhash), who works for the government, gets promoted and is transferred from their larger native town of Pune. His father has recently died and the two are on their own in a small house. Fatherless, uprooted, far from his best friend and forced to adapt to a new school, Chinu has a lot on his plate. Young Davadhar depicts him as a moody, even prissy introvert but a smart student who has a tendency to look down on the local kids, so making friends is tough. The local lads seem like unruly delinquents to him when he first encounters them trying to set fire to a puppy. This is followed by a scene of total chaos in the schoolroom that could have come out of Jean Vigo’s Zero for Conduct. Each child is carefully drawn in vivid colors, like the irrepressible scamp Bandya (the delightful Parth Bhalerao, who has a leading role in the Amitabh Bachchan film Bhoothnath Returns) too poor to have a bike, or the pudgy, well-off Yuvrag (Gaurish Gawde) who styles himself their leader. When Chinu passes Yuvraj some answers in math class, he is welcomed into the little band.

    His mother, meanwhile, has her own adjustments to make with the local corrupt bureaucracy when she’s strong-armed into helping a local building contractor get a project through without bank approval. Far from her family, she has no support while mourning her late husband and worrying about her son. Subhash, an expert stage and film actress, projects strength and fortitude in a performance that is more affecting for being delicately understated.

    The climax comes early on, in a genuinely spooky scene in the ruins of a British fort, where Chinu undergoes an ordeal that becomes a rite of passage. Screenwriters Tushar Paranjape and Upendra Sidhye wisely forego an over-the-top drama, which is set up but never explodes, in favor of realism, making it a better, less conventional film with a subtle take-away message that is positive and uplifting.

    Arun contributes his own atmospheric cinematography and uses it to weave a believable if exotic world around the child and his mother. Naren Chandarvarkar and Benedict Taylor’s score is beautifully listenable.”


  9. But Killa is made truly special by its calm and understated storytelling, the way its narrative displays a fluid ebb and flow.

    The restraint is stunning; it is a film set in the 1990s but barely draws attention to that fact, save for a television show theme hummed in a classroom and an old phone used in one scene. It isn’t afraid to be choppy — or, indeed, to surprisingly cut away just when we think something momentous is about to happen (a cycle race is promised eagerly but only delivered much later, for example) — and thus it develops its own rhythm that, while always unhurried, remains impressively riveting.

    The music is old-world but energetic, used sparingly and efficiently.


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