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Tuesday, 8 March 2016

HIndie Awards 2016: Best Screenplay in A Regional Film

Best Screenplay in A Regional Film

Writing is the essence of a film, the backbone, the building block from which the film is made.

Writing is blah, blah, BLAH!

Well if everyone seems to think, note and most importantly WRITE that writing is the most important thing in cinema; then it's high time writers got that sort of respect in actuality rather than through empty words and gestures.

Whether it's Hollywood or Bollywood or in between, writers deserve more damn respect and more damn pay. Period.

So onto these five individuals who deserve all the recognition coming their way.

The HIndie Award for Best Screenplay in A Regional Film, and the nominees are…

Tushar Paranjape for Killa

Basking in the enlightening view of children and their simple moments of profound adventure and growing pains. Killa takes us through the story of young boy Chinmay who has recently lost his father and has moved to a new place with his struggling widowed mother.

A new place means a new school, and for Chinmay this means the troubles of fitting in and proving oneself. Adventures abound and friendships formed and tested, Chinmay goes through the usual. A taste structures and dealt with, with dexterity and understanding by the writer. It's a simple event we all have passed through and the writer handles it with honesty; which is all we ask for.

Paranjapee's sublime screenplay carves a deep understanding of what it means to be young with philosophical beauty.

M. Manikandan for Kaaka Muttai

Chasing dreams and the falsities of material aspects is what subtly, beautifully, sweetly but never condescendingly, lies at the heart of Manikandan's feature debut.

Two young slum dwelling boys are attracted by the opening of a new Pizza restaurant near their slums, they decide they will make the required money to try and get a chance to taste a slice.

Characters are the soul of the film, we cheer as the two young brothers take each step closer to accomplish their dreams. Even when the film goes overblown in its attempts to text out the subtext of class divide and perceptions we are there; due to the two boys [and the actors behind them].

Manikandan's writing works intelligently, weaving us in and making us cheer for something we never expected as the two boys realize; the Pizza sucks! It's that which compartmentalizes the films narrative; it was just about a Pizza but also enhance its richer themes even more so.

Chaitanya Tamhane for Court

Grounding the surreal absurdity of an unnecessary trial, Tamhane paints a distinctly recognizable picture of the kind of extent the government will go to, to wipe out the radicals calling out the name of development against the deep rooted issues in society.

A docu drama approach allows Tamhane to craft a narrative that free flows on its on but always manages to echo a strong point of the economical and social breakdown of the world we live in.

In Court; an upper class Gujarati man can defend a Dalit poet and revolutionary, while faced off against a middle class lawyer and housewife; both directed at a superstitious Judge, between them on that social ladder.  All of them regardless of gender, caste, culture or anything coming together in Court; where the judgment of the world should end but shockingly doesn't.

It's the brilliant absurdity of this film that makes you think without attaching us to an emotional center, brilliantly absurd indeed!

Aditya Vikram Sengupta for Asha Jaoar Majhe

Sengupta is at the soul of his film, that's why as a true writer he is able to craft the film from head up like a one man show.

Emotionally stirring but effectively subtle, the screenplay is kept tight allowing for a straight forward film with a precise rumination on the complexities of marriage and straddling a house in harsh economical times.

I make it sound really dramatic but it's not; the film in fact is poetry in motion, just so hard to explain and definitely hard to write but written perfectly.

Joshy Mangalath for Ottaal: The Trap

Taking a dry and experiential approach to the writing; despite it's opening narrative flashback set up. Ottaal is spent in its moments where young Kuttappayi is travelling the village banks with his father, meeting his oddball friends from the old fisher man to the light keeper at sea or more importantly a young boy from a higher class.

Through Kuttappayi the narrative explores ideas of class divide, growing up and the abject issue of child labor.

Yet it never feels like the film is treading such a dark and disturbing path, it's where the heart hits then; becoming a documentation on the horrors that children face. It's not a message film, it's a script film; where the plot truly hits hard by the emotional connect it allows its characters to create with us.

And the Winner is…

Chaitanya Tamhane for Court!

So there's your winner of the screenplay award, the men that make the film!

Up Next: The captain of the ship and these five captains have kept their ships steady through some raging storms...The HIndie Award for Best Director in A Regional Film!

'Nuff Said

Aneesh Raikundalia

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