Archives of our Activities: Screenings at NGMA

Dear friends,

(Ministry of Culture, Government of India)

in collaboration with


invites you for the screening of films

All the films will start @ 5 pm. Entry is Free on first come first serve basis. All are invited! Tea/coffee will be served after the screening.


The apocalyptic genre is not just one genre among others: It plays with the very conditions of possibility of cinema. And it bears witness to the fact that, every time, in each and every film, the cine-world is exposed on the verge of disappearing. At the heart of Apocalypse is one recurring theme: The world today is in crisis because men and women have lost their power of directly experiencing and participating in the power and vitality of the cosmos. They are cut off from the source of their being. This “long, slow death of the human being” began in the time of Socrates and Jesus and continued throughout Christian history. Today in the age of the Anthropocene this notion of impending planetary doom seems more palpable and urgent. The apocalypse films we here present portray characters struggling to survive in a hostile environment, where all they have is each other, and the only thing they posses in common is the will to keep on living, no matter the cost.

26th June 2018 Tuesday

ONCE UPON A TIME IN ANATOLIA |Directed by NURI BILGE CEYLAN |Turkey| 157 minutes| 2011

In the dead of night, a group of men – including a police commissioner, a prosecutor, a doctor and a murder suspect -drive through the tenebrous Anatolian countryside, the serpentine roads and rolling hills lit only by the headlights of their cars. They are searching for a corpse, the victim of a brutal murder. The suspect, who claims he was drunk, can’t remember where he buried the body. As the night draws on, details about the murder emerge and the investigators’ own secrets and hypocrisies come to light. In the Anatolian steppes, nothing is what it seems; and when the body is found, the real questions begin.

27th June 2018 Wednesday

FEW OF US |Directed by SHARUNAS BARTAS| Lithuania, France |105 minutes |1996

In Kaliningrad two Lithuanian boys meet two Russian girls. They have difficulties in finding places where they can sleep together. But this is the only problem they do solve. All four justly feel miserable because their lives are meaningless. In addition, everyone is so absorbed by his or her own distress and hardly capable of bothering about the anguish of the others. The three days end with a pervasive lack of contact.

28th June 2018 Thursday

THE SEVENTH CONTINENT | Directed by MICHAEL HANEKE |Austria |104 minutes |1989

Based on a true story, Michael Haneke’s first theatrical feature is a disturbing portrait of familial disintegration which he describes as a depiction of his native Austria’s ‘progressive emotional glaciation’. Set over a three year period, it documents how the mundane day-to-day routines of a middle-class family alienate them from the world and each other until, suddenly and shockingly, their lives self-destruct. Addressing themes that would inform much of his later work – the breakdown of society, violence and the media – The Seventh Continent is both intelligent and masterfully composed.

29th June 2018 Friday

DAMNATION /Directed by BÉLA TARR / Hungary / 116 minutes / 1988

Damnation tells the story of Karrer, a depressed man in love with a married torch singer from a local bar, the Titanik. The singer breaks off their affair, because she dreams of becoming famous. Karrer is offered smuggling work by Willarsky, the bartender at the Titanik. Karrer offers the job to the singer’s husband, Sebestyén. This gets him out of the way, but things don’t go as Karrer plans. Betrayals follow. Karrer despairs.

30th June 2018 Saturday

JAPÓN / Directed by CARLOS REYGADAS / Mexico, Netherlands / 130 minutes / 2002

A young painter, beleaguered by life, sets off in search of a place to kill himself. When he rumbles into a remote village deep in rural Mexico, he is quick to tell Ascen, the kindly older widow who takes him in, that he intends to commit suicide. Yet, as days roll by, he finds himself drawn out of his depression and into Ascen’s life by her surprising allure. Before long, her compassion and fortitude inspire the young man to give life a second chance.

Dear friends,

(Ministry of Culture, Government of India)

in collaboration with


invites you for the screening of films

​All the films will start @ 5 pm. Entry is Free on first come first serve basis. All are invited!. Tea/coffee will be served after the screening. ​

Chronicling the Modern

“Films are both time capsules, preserving the original period of their release, and a collection of thoughts and ideas that extend from the artists and craftsmen that lived in its time. What is suggested over and over again by the films on this list is that the exploration of memory is, in and of itself, a kind of spiritual quest, a quest for transcendence or truth”.

– Ryan Holt

The modern represent the most haunting and devastating violence ever known in human history. It all started with the conquests of the continents which exterminated the natives and their civilisations followed by slave trade and world wars and holocausts. The changes were so cataclysmic that it was difficult to distinguish truth from fiction. A new medium was needed to record the rupture and the blur – truth and fiction, memory and the loss of it. Thus was born cinema borrowing from all the arts to record the human angst of a given time, to narrate and situate multidimensional human experiences in all its ramification.

Sunday 22nd April 2018

Directed by Akira Kurosawa | Japan | 88 minutes | 1950

There are three sides to every story, the saying goes: yours, mine and the truth. But in Akira Kurosawa’s first international hit, there are at least four sides – that of a bandit, the woman he may have raped, the husband he may have murdered, and a woodcutter who witnessed everything – and all of them have reasons to obscure or lie about what really happened. The conflicting testimonies in Rashômon underscore how subjective and even self-serving memory can be.

Tuesday 24th April 2018

Wild Strawberries
Directed by Ingmar Bergman |Swden|90 minutes| 1957

Wild Strawberries mixes intimate drama with expressionistic dream sequences, a road trip format with a trip down memory lane. As aging Professor Isak Borg (Victor Sjöström) travels to be awarded an honor for his life’s work, he is confronted by both travelers and memories of his life. If we must live in the present, our reaction to it takes shape from the memories and dreams we have acquired. Memories can haunt and hurt, but they can also bring fulfillment, hope and peace.

Wednesday 25th April 2018

Directed by Federico Fellini | Italy | 138 minutes | 1963

Federico Fellini’s 1963 masterpiece is a self-referential comedy about a famous Italian film director who — caught up in storms of business, extramarital affairs, and an existential crisis — finds himself incapable of finishing his latest film and remaining faithful to his exasperated wife. These failures cause him angst over past failures (which appear in symbolic dreams and feverish flashbacks) and frustration toward powers that have failed him (the church, the film industry). Your first viewing of 8 1/2 is a singular experience of a man’s haunted memories; but then your second reveals the film to be far more than you remembered, inviting you to future viewings and an ever-changing relationship with its mysteries.

Thursday 26th April 2018


Directed by Wong Kar-wai | Hong Kong | 129 minutes | 2004

Wong Kar-wai’s career is perhaps best understood as an extended study of romance as a form of history, a study that reaches its apex in the immense and enigmatic 2046. Structured as the elliptical recollections of writer Chow Mo-wan (who previously appeared in Wong’s Days of Being Wild and In the Mood for Love), 2046 chronicles a series of failed romances and missed opportunities. Fact and fiction inform the other, echoing the ways in which the human mind shapes narratives from discrete events.
Friday 27th April 2018

Certified Copy

Directed by Abbas Kiarostami | France and Iran | 106 minutes | 2010

Kiarostami’s film about a man and a woman ambling through an Italian village together, deep in conversation about love and art, is impossible to summarize. It is not clear who this man and woman are. We puzzle at suggestions that they may have been married in the past, or perhaps they are now. We struggle with Kiarostami through permutations of intimacy and conflict until we realize that the film is, like any intimate relationship, an act of memory. Every viewing of Certified Copy reveals new textures and new angles in basic questions about how we remember those closest to us. But one always leaves the film with the impression that we are all histories of love.

Dear friends,

Bangalore Film Society
in collaboration with
Maraa, 1Shanthiroad and SIEDS
invites you for the screening of films at NGMA on Sunday April 8th at 5pm
Entry is Free on first come first serve basis. Followed by panel discussion and interaction with filmmaker/producer.


A THIN WALL is a documentary about memory, history and the possibility of reconciliation. It focuses on the Partition of India in 1947, but derives lessons that remain urgently relevant today. Shot on both sides of the border, in India and Pakistan, A THIN WALL is a personal take on Partition rooted in stories passed down from one generation to another. It is written and directed by Mara Ahmed and co-produced by Surbhi Dewan. Both filmmakers are descendants of families torn apart by Partition. The film is also a work of art infused with original animation, music and literary writing.

Dear friends,
Greetings from Bangalore Film society!

(Ministry of Culture, Government of India)
in collaboration with

Bangalore Film Society

invites you for the screening of films

All the films will start @5 pm. Entry is Free on first come first serve basis. All are invited!
Tea/coffee will be served after the screening.

Timing is Everything – The Comic Artistry

Perhaps the most difficult art form is comedy because nobody knows exactly what tickles people’s funny bone and make them laugh. But then comedians have a way of perceiving and articulating the ridiculous and the absurd in a given epoch which transcend the cultural boundaries and time barriers as they are apt statements of what is hidden in the underbelly of given civilizations. Comedy makes people cope with the socio-politico-cultural pretenses of a given civilizations as the comedian reveals the actualities in the most inimitable gestures. Comedy makes one look at life in its rawness and transforms it for the better. This month we present to you the classical works of two great comedians Buster Keaton and Jacques Tati.

About Buster Keaton

Buster Keaton is more famous and critically acclaimed today, than he was in the 1920’s and the reason is simple: his films still seem awfully relevant and modern, maybe even more so than when they were first shown. Unlike most of his contemporaries, Keaton strips his films down to the bare minimum, no unnecessary subplots, his films zoom along in a way that today’s audiences appreciate. His character is very Modern: quiet, steadfast, full of self deprecating humor. Keaton often uses that to his advantage. His gags have an elegant, organic logical quality that is coupled with Keaton’s amazing athleticism. Most of all, Keaton loved film and all its possibilities and he loved to play and experiment with what it could do.

About Jacques Tati

Jacques Tati’s, real name Jacques Tati scheff, was a very well-known and beloved comedian in France in the first half of the 20th Century. Following World War II, he began getting involved in short films before finally directing his first feature. Tati only made six features in his career and appeared in all of them. His whole sensibility and way of thinking is there on screen. His comedy shines through, surely, but also his wistful way of looking at the slowly-modernizing world.

Day One: Three short films by Buster Keaton

Back Stage | Directed by Buster Keaton | USA | 26 minutes | 1919

Buster and Arbuckle play two stagehands in a theater that is racked with labor troubles, touchy divas, and otherwise eccentric fellows. When practically the whole show walks out, Buster, Arbuckle and a few allies put on the show and this plot point thus allows Buster to showcase his amazing mimicry and athleticism. This was made just after Buster had returned from duty in First World War.

The Goat | Directed by Buster Keaton | USA | 27 minutes |1921

This delightful, often overlooked short of Keaton’s, sums up his “Early Period” where his films follow the plot of conflict and chase that ends happily. Keaton plays the nameless main character down on his luck and through a series of Keaton-esque plot twists, ends up being wrongly considered the murderer “Dead Shot Dan”. Keaton navigates his way through a maze of mistaken identity, cops in pursuit and of course, loves. The famous shot of his entrance to the film’s second part on a train’s cowcatcher is both imaginative and surreal.

Cops | Directed by Buster Keaton | United States |1922 |18 minutes

Often called Keaton’s “Dark Masterpiece” represents the tone of his later works which were influenced by his unhappy marriage and the trials of his close friend, Roscoe Arbuckle. Keaton’s youthful ideals were given quite a punch and Cops shows him reeling. Dark, cynical and even Kafka-esque in tone, the central plot’s idea is that any honest person cannot get ahead in a world where everyone “has an angle”.

Day 2

The General | Directed by Buster Keaton, Clyde Bruckman | United States | 75 minutes | 1926

One of the most revered comedies of the silent era, this film finds hapless Southern railroad engineer Johnny Gray (Buster Keaton) facing off against Union soldiers during the American Civil War. When Johnny’s fiancée, Annabelle Lee (Marion Mack), is accidentally taken away while on a train stolen by Northern forces, Gray pursues the soldiers, using various modes of transportation in comic action scenes that highlight Keaton’s boundless wit and dexterity.

Day 3

3) Seven Chances | Directed by Buster Keaton | United States | 56 minutes | 1925

Struggling stockbroker Jimmie Shannon (Buster Keaton) learns that he will inherit $7 million by 7 p.m. if he can get married in time, lovelorn lawyer Jimmie Shannon sets off on a wild bride-chase. The hilariously inventive comedy culminates with one of Buster Keaton’s most renowned set pieces that finds him pursued through the streets of Los Angeles by a gaggle of wannabe-wives – as well as scores of massive, dislodged boulders.

Day 4

4) Mr Hulot’s Holiday | Directed by Jacques Tati | France | 83 minutes | 1953

Monsieur Hulot goes on a holiday to a seaside resort, but accidents and misunderstandings follow him wherever he goes. The peace and quiet of the hotel guests don’t last very long with Hulot around, because although his intentions are good, they always turn out catastrophically.

Day 5

5) Mon Oncle | Directed by Jacques Tati | France | 111 minutes | 1958

The hopeless Monsieur Hulot once again finds himself affecting people’s lives without realizing what he has done. Hulot has taken his young nephew under his wing allowing him to play with other children. The boy’s parents live in a ultra-modern house where the boy’s overly pretentious mother will barely let him breathe. Concerned that he may be a bad influence on the boy, Hulot’s sister and brother-in-law devise a plan to keep him occupied. Their attempt to introduce him to other people at their garden party doesn’t work out as planned with hilarious results for everyone concerned.

Richter Scale 7.6

Dear friends,
Greetings from Bangalore Film Society !!
NECAB and Campus Oaks, along with the Bangalore Film Society, are delighted to invite you to the screening of the film “Richter Scale 7.6”
(72 minutes, Malayalam film with English Sub-titles). The details of the screening are as below:
Time/Date: 12th Nov 2017, Sunday at 4:30 PM
Venue: Renukamba Digital Studio, 62, 4th Main Rd, Malleshwaram West, Bangalore – 55
Displacement of people in the name of development, is a problem of universal relevance. Depicting the story of people who struggle to resist displacement, “Richter Scale 7.6” highlights the intricate ways in which life, value system and even the state of well-being are all tied to the environment and the ecosystem they are part of.
Entry is free.
Limited seats. Request you to please register at: to confirm your seats.


Dear friends,

Greetings from Bangalore Film Society!

Bangalore Film Society in collaboration with Marupakkam and SIEDS-Bangalore invites you to Social Justice Film Festival from Thursday 26th to Saturday 28th October 2017 at SIEDS Library Hall.


  • Films Screenings/Discussions
  • Poetry reading
  • Evening lecture/Social Justice Songs

Time: 9:00 am to 8:30 pm

Address: No.33/1-9, IVth Cross, Thyagaraju Layout, Jaibharath Nagar, M.S. Nagar P.O

Bangalore -560033.

Land Mark: Bharath petrol pump, Jaibharath Nagar.

Entry is Free on first come first serve basis. All are invited!


Tribute to Gauri Lankesh

Day 1, 26 October, Thursday

10 am Inauguration

11 am Our Gauri (opening film)

Dir: Deepu; 67 min; English (subtitles); 2017

Gauri Lankesh was one of the Karnataka’s most prominent and fearless journalists. She was shot dead outside her house in Bengaluru on the night of 5th September, 2017. Gauri spoke out against communal forces in the country and represented dissent and freedom of speech.

The film is more than a personal tribute and follows her political journey, envisaging what she stood for and her struggle for communal harmony until her last breath. And her life story has become the history of Karnataka’s fight against right-wing communal forces.

12:20 Interaction

1:00 Lunch break

2:00 Nuclear Hallucinations

Dir: N.Fatima; 54 min; Tamil with English subtitles

Nuclear hallucinations is a film, which claims to be a documentary, and it is centred the anti-nuclear struggle against the kudankulam atomic power project in south India.

2:55 Interaction

3:25 18 Feet

Dir: Renjit Kuzhur; 77 min; Malayalam with English subtitles

Karinthalakoottam is an indigenous band that propagates the music of soul to connect people with a sense of historic resolution. 18 feet symbolizes the holy distance dalits, the downtrodden, were to ensure for the sanctity of upper castes. P R Remesh, a city public-bus conductor, is the man behind the exuberant squad that drums empathy for all in denial of historic untouchability attached to the disused community. The troop is the vanguard in redefining the identity of people who are battered by senseless incorrectness through centuries. The downtown Kerala band rekindles the sense of sanity for all with a massage of love and harmony.

4:45 Interaction

5:15 Invoking Justice

Dir: Deepa Dhanraj; 86 min; Tamil with English subtitles

In Southern India, family disputes are settled by Jamaats—all male bodies which apply Islamic Sharia law to cases without allowing women to be present, even to defend themselves. Recognizing this fundamental inequity, a group of women in 2004 established a women’s Jamaat, which soon became a network of 12,000 members spread over 12 districts. Despite enormous resistance, they have been able to settle more than 8,000 cases to date, ranging from divorce to wife beating to brutal murders and more.

Award-winning filmmaker Deepa Dhanraj (SOMETHING LIKE A WAR) follows several cases, shining a light on how the women’s Jamaat has acquired power through both communal education and the leaders’ persistent, tenacious and compassionate investigation of the crimes. In astonishing scenes we watch the Jamaat meetings, where women often shout over each other about the most difficult facets of their personal lives. Above all, the women’s Jamaat exists to hold their male counterparts and local police to account, and to reform a profoundly corrupt system which allows men to take refuge in the most extreme interpretation of the Qur’an to justify violence towards women.

6:45 Interaction

7:15 Guest lecture, poetry and songs

Day 2, 27 October; Friday

10 am Our Metropolis

Dir : Gautam Sonti & Usha Rao; 87 min; Documentary; Kannada, Hindi, English; 2014

Bangalore is being refashioned as a ‘world-class’ metropolis. Livelihoods and homes make way for flyovers, glitzy malls and a shiny Metro. Threatened with violent transformation of their city, residents confront the authorities. Beneath the State’s ideal of a ‘global city’ lurks the intent to clear a pasture for big business.

11:30 Interaction

12:00 Framing Democracy 32’

Encountering Injustice: The Case of Meena Khalko

Dir: Maheen Mirza; 14 min; Chattishgarhi, Hindi with English subtitles

The film looks into an alleged encounter of a 15 year old adivasi girl, Meena Khalkho who lived in Village Karcha of Balrampur district of North Chhattisharh. She was killed by the police who alleged that she was a naxalite. Moving between the electronic news coverage of the incident and testimonies of her parents and other people from her village, the film investigates the claims of the police. Sexual violence, the attempt to suppress the truth of meena’s murder and the impunity of the culprits gradually comes to light. We also get a glimpse into how difficult and long the struggle for justice is in the conflict zones of the country. This film is part of a series of films called Loktantra Hazir Ho produced by the Women against Sexual Violence and State Repression (WSS).

Meanwhile the killings continue: The Encounter at Rewali

Dir: Maheen Mirza; 18 min; Godhi, Hindu with English subtitles

In a combing operation in the Dantewara region of Chattisgarh an adivasi was encountered and killed by security forces. He and his wife had gone to a stream to bathe and collect material to make a baadi and were catching crabs when the security forces opened fire. Budhri, the woman hid behind a tree but Bhima Nuppo was shot and killed. The people from rewali village of which Budhri and Bhima were residents called the local leaders and media to investigate this incident and bring out the unprecedented violence that adivasis living in the area have to face regularly. A rally of about 7000 people set out to seek justice for Budhri and her 5 children. They were stopped and not allowed to go to the Collector office. Negotiations ensued between the people and the administration. The film documents the entire process.

12:35 Interaction

1:00 pm Nicobar, a long way

Dir: Richa Hushing; 65 min; Nicobarese, Hindi and English

Deep in the Bay of Bengal, the Nicobar archipelago, a tribal reserve protected under Andaman and Nicobar Protection of Aboriginal Tribes Regulation, was worst hit by the Tsunami of 26th December 2004. Self-subsistent and relatively isolated, post Tsunami the aboriginal world was suddenly invaded

2:05 Interaction

2:30 I am Bonnie

Dir: Farha Katun, Satarupa Santra, Saurabh Kanti Dutta; 45 min; Bengali with English subtitles

Bonnie (33) is again on the run. He has been on the run from his family and sports fraternity since failing ‘sex test’ before the Bangkok Asian Games, 1998.

A born intersex, raised by poor, illiterate and confused parents as a girl named ‘Bandana’, s/he became one of the finest strikers of Indian Woman’s football team in her/his short career.

A Sex Reassignment surgery later transformed her/him to a man but left him without home or career. He left home, took up idol-making for a living. He met Swati (F24) then; they fell in love and married soon but had to move once again fearing social backlash.

His fight to establish his identity, struggle for existence is met by a sarcastic society which is yet to learn to take ‘other genders’ seriously.

3:15 Interaction

3:45 Mod (70 min)

Dir: Pushpa Rawat; 69 min; India; Documentary

‘Mod’ is an attempt by the filmmaker at communicating with the young men who hang out at the ‘notorious’ water tank in her neighbourhood in Pratap Vihar, Ghaziabad. The water tank is a space that is frequented by the so-called ‘no-gooders’ of the locality, a place where they play cricket, play cards, drink and smoke up. When she enters the space with her camera, the boys are curious and at the same time wary of it and her. They sometimes resist, sometimes protest, and at times, open up. As the film unfolds we get a hint of the lives the boys lead and the fragile world they create for themselves at the water tank.

4:55 Interaction

5:25 Guest lecture, songs, poetry reading

Day 3: 28 October; Saturday

10 am Accsex

Dir: Shweta Ghosh; 52 min; Hindi and English

Within stifling dichotomies of normal and abnormal, lie millions of women, negotiating with their identities, Accsex explores notions of beauty, the ‘ideal body’ and sexuality through four storytellers; four women who happen to be persons with disability. Through the lives of Natasha, Sonali, Kanti and Abha, this film brings to fore questions of acceptance, confidence and resistance to the normative. As it turns out, these questions are not too removed from everyday realities of several others, deemed ‘imperfect’ and ‘monstrous’ for not fitting in. Accsex traces the journey of the storytellers as they reclaim agency and the right to unapologetic confidence, sexual expression and happiness.

11:00 Interaction

11:30 Our Family

Dir: Anjali Monteiro and KP Jayasankar; 56 min; Tamil with English subtitles

What does it mean to cross that line which sharply divides us on the basis of gender? To free oneself of the socially constructed onus of being male? Is there life beyond a hetero-normative family? Set in Tamilnadu, India, ‘Our Family’ brings together excerpts from Nirvanam, a one person performance, by Pritham K. Chakravarthy and a family of three generations of trans-gendered female subjects.

12:30 Interaction

1:00 Lunch break

2:00 Kakkoos

Dir: Divya Bharathi; 108 min; Tamil with English subtitles

The documentary, shot in 25 districts for over a year, conveys the message that even though manual scavenging was banned in India in 2013 it continues to exist and conservancy workers are involved in removing human waste. The film is dedicated to those who maintain a “false silence on manual scavenging”.

3:50 Interaction

4:20 Sikkidre Shikari, Illdidre Bhikari (Bird Trapper or Beggar!)

Dir: Vinod Raja; 79 min; Kannada and Vaagri Boli with English Subtitles

The Hakki Pikkis are a free spirited nomadic tribe who began their wandering many generations ago in the North Western part of the Indian subcontinent. Over time they travelled through and settled in different states of the country. As they moved, they survived through trapping birds and hunting small game in the forests and selling them in cities and towns along with lucky charms and trinkets. If the trap failed, begging was the next best bet! Exiled from the forest, reviled by the city, their traditional ways of life outlawed the Hakki Pikkis share their stories of wit and survival in the film that emerged through a series of community conversations held when we travelled with friends from a settlement in Bannerghatta, Bangalore to other settlements across Karnataka.

5:40 Interaction

6:10 Closing Ceremony

Guest lecture, songs and poetry

Film within Film

Dear Friends,

Greetings from Bangalore Film Society!


(Ministry of Culture, Government of India)

in collaboration with

Bangalore Film Society

invites you for the october

film screening 2017

Film within Film

Movies about movies are catnip for critics, turning the camera back on not only the faces behind it but also on us. Why do we love movies? What drives us to go for a movie and derive pleasure watching them?

Some of the most iconic films in cinema history are actually movies about movies.

The best movies about movies are those which capture the magic of film making in an actual film. That’s no easy task. But some of the films listed here are indeed a movie within a movie, taking viewers on a wild and sometimes confusing ride. Some of the movies that earned a spot on the list are critically acclaimed films, considered among the best movies of all time, and with good reason.

Why are there so many films about filmmaking? For many directors, their movie becomes their mouthpiece to speak about their philosophies and perception of realities. For some, it’s a paean to a bygone era. Yet for some others while claiming to hold a mirror to society, is instead admiring its own reflection. Just as authors cannot resist writing about a frustrated novelist, so screenwriters are seen to struggle for their art, directors dying for that perfect take. However there’s more to it than narcissism and nostalgia. It is a search for the self in an extremely paradoxical world of meanings we encounter in our everydayness.

1) Contempt / Directed by Jean-Luc Godard / France, Italy / 102mins/1963

Based on an Alberto Moravia novel, Contempt finds Jean-Luc Godard ruefully moping over cinema’s lost glories while pushing the art form towards a radical future. The setting is Italy – Rome’s Cinecittà studios, then Capri – where the great German director Fritz Lang (playing himself) is trying to film The Odyssey under the aegis of a philistine American producer (a magnificent Jack Palance). With its sublime Georges Delerue score, and a strange prelude featuring Brigitte Bardot’s meta-commentary on her own body, Contempt is the only Godard film that could make you conceivably cry as much as it makes you furrow your brow.

2) Cinema Paradiso / Directed by Giuseppe Tornatore / Italy / 174 minutes / 1988

Young Salvatore Di Vita (Salvatore Cascio) discovers the perfect escape from life in his war-torn Sicilian village: the Cinema Paradiso movie house, where projectionist Alfredo (Philippe Noiret) instills in the boy a deep love for films. When Salvatore grows up, falls in love with a beautiful local girl (Agnese Nano) and takes over as the Paradiso’s projectionist, Alfredo must convince Salvatore to leave his small town and pursue his passion for filmmaking.

3) 8 ½ / Directed by Federico Fellini / Italy / 138 minutes / 1963

Fellini’s hyper-flamboyant autobiographical fantasia is, depending on your tolerance for the mirror gazing of maestros, one of the visionary peaks of cinematic modernism or an exercise in self-aggrandising solipsism that had the disastrous effect of encouraging generations of auteurs to take themselves deadly seriously. Marcello Mastroianni – who made agonised intellectuals look cooler and suaver than they ever do in real life – played Fellini surrogate Guido, a director running short of inspiration and making a movie in his head, out of his own life and loves. Nino Rota’s kaleidoscopic score keeps the whole crazy circus metaphor spinning to rapturous effect.

4) The Purple Rose of Cairo / Directed by Woody Allen / United States / 82 minutes / 1985

A Depression-era waitress spends every free moment she has at the cinema because the grand stories she finds there distract her from her pitiful life, but when a dashing character from one of the films becomes smitten with her and leaves his celluloid world, she finds herself in the middle of her own fantasy romance.

5) Close-Up / Directed by Abbas Kiarostami / Iran / 98 min 1990

Internationally revered Iranian filmmaker Abbas Kiarostami has created some of the most inventive and transcendent cinema of the past thirty years, and Close-up is his most radical, brilliant work. This fiction-documentary hybrid uses a sensational real-life event—the arrest of a young man on charges that he fraudulently impersonated the well-known filmmaker Mohsen Makhmalbaf—as the basis for a stunning, multilayered investigation into movies, identity, artistic creation, and existence, in which the real people from the case play themselves. With its universal themes and fascinating narrative knots, Close-up has resonated with viewers around the world.







Dear friends,

Greetings from NGMA Bengaluru!


(Ministry of Culture, Government of India)

in collaboration with

Bangalore Film Society

invites you for

April 2017 screening of films

All the films will start @5 pm. Entry is Free on first come first serve basis. All are invited!

Existentialism is a 20th century philosophical concept concerned with human existence, finding self, and the meaning of life through free will, choice and personal responsibility. The belief is that people are searching to find out who and what they are throughout life as they make choices based on their experiences, beliefs, and outlook. And personal choices become unique without the necessity of an objective form of truth. An existentialist believes that a person should be forced to choose and be responsible without the help of laws, ethnic rules, or traditions. The essence of all artistic endeavour is existential as it constantly posit the question of ‘self and the other.
Listed below are a number of existentially-themed films which address the human condition in a profound, and ultimately, rewarding way. Gaining insight into ourselves and being able to express this with others through these films.

Tuesday 25th April 2017

The Tree of Life (2011)

Director: Terrence Malick / 139 mins

In this highly philosophical film by acclaimed director Terrence Malick, young Jack is one of three brothers growing up as part of the O’Brien family in small-town Texas. Jack has a contentious relationship with his father, but gets along well with his beautiful mother. As an adult, Jack struggles with his past and tries to make sense of his childhood, while also grappling with bigger existential issues.

Wednesday 26th April 2017

Melancholia (2011)

Director: Lars von Trier / 135 mins

On the night of her wedding, Justine is struggling to be happy even though it should be the happiest day of her life. It was an extravagant wedding paid for by her sister and brother-in-law who are trying to keep the bride and all the guests in line. Meanwhile, Melancholia, a blue planet, is hurtling towards the Earth. Claire, Justine’s sister, is struggling to maintain composure with fear of the impending disaster.

Thursday 27th April 2017

Amour (2012)

Director: Michael Haneke / 127 mins

Retired music teachers Georges and Anne have spent their lives devoted to their careers and to each other. Their relationship faces its greatest challenge when Anne suffers a debilitating stroke. Though Georges himself suffers from the aches and infirmities of old age, he bravely ignores his own discomfort to take care of his wife, and is determined to keep his promise to her that she never go back to the hospital.

Friday 28th April 2017

Ida (2013)

Director: Pawel Pawlikowski / 82 mins.

In 1962, Anna is about to take vows as a nun when she learns from her only relative that she is Jewish. Both women embark on a journey to discover their family story and where they belong. Called a “compact masterpiece” and an “eerily beautiful road movie”, the film has also been said to “contain a cosmos of guilt, violence and pain”, even if certain historical events

Saturday 29th April 2017

Leviathan (2014)

Director: Andrey Zvyagintsev /140 mins

In a Russian coastal town, Kolya is forced to fight the corrupt mayor when he is told that his house will be demolished. He recruits a lawyer friend to help, but the man’s arrival brings further misfortune for Kolya and his family.

Lights.Camera Conservation

UpSteam Through Art

march 17 film web Download document here >>NGMA Bengaluru in collaboration with Bangalore Film Society

Download document here >>Short films Invitation

Download document here >>Beyond Thresholds of Conflict 01

A Web Interactive Design by :

piXmerize Design Hub, India