MUMBAI: Filmmakers have always tried various ways to express themselves, and perhaps the best method that serious filmmakers have found is the use of metaphors and technology to project the sea of emotions which cannot be shown directly.
Radu Jude, director of the film The Happiest Girl used car to show that the disparity between classes is very wide and each possesses a certain set of values, something common across the globe.
OLE is the new concept introduced at the ongoing Eleventh Osian’s Cinefan Film Festival which commenced on 24 October and will continue till 30 October at the SirifortAuditorium. OLE is aimed at taking the study of filmmaking to an aesthetic level.
Augustina Stanciu, the co-writer and costume designer of the film who led the discussion at the OLE session today, said they used the technique of putting offscreen spaces in the frame – frequently catching viewers off guard – to constantly remind the viewers how artificial it was. In terms of content, it could be termed as one of those NewStream films where conflict and coexistence of traditions and modernity continues to struggle.
Extending this idea, award-winning editor of Rasayatra and filmmaker Paresh Kamdar uses the metaphor of Khargosh and repetition of symbolic shots to portray young Bantu’s restlessness and angst on his path of discovery of sensuality and passion.
To a question, as to what drove him to choose such a story, he replied that he "wanted to show the graph of experience of editing and not the inherent intensity and drama of the story. The search was much deeper inside and he tried to find correlation outside in the form of story."
Land of Scarecrows by Roh Gyeong-Tae metaphorises people of land into scarecrows. Just as scarecrows, various pollutants have made man hollow with no life inside. Man has created a vicious circle of pollution that has affected man himself and consequently "society is messed up." Omitting one step of film developing, Roh tried to aptly create coloured environment, thereby succeeding in producing density of perception by mingling colours and the psychological state of characters while taking care of the narrative. Kaushik Bhaumik, who conducted the discussion, commented that this represented the "cinema of brain."