film festival

JOIN COCHIN FILM SOCIETY FOR A BETTER FILM CULTURE..

ONE DAY FESTIVAL
AS A PILOT PROGRAMME TO THE 12TH IFFK,

THE COCHIN FILM SOCIETY ,

IN ASSOCIATION WITH

KERALA STATE CHALACHITRA ACADEMY

AND

PUBLIC RELATIONS DEPARTMENT

IS ORGANISING A MINI FILM FESTIVAL

ON

24TH NOVEMBER 2007.

THE PROGRAMME WILL BE INAUGURATED BY

SRI. SATHYAPAL,

(SECRETARY, KERALA LALITHA KALA ACADEMY)

ON 24TH, 3 PM

AT

ADHYAPAKABHAVAN, KARIKKAMURI CROSS ROAD, ERNAKULAM .

THE FILMS

"FIREWORKS WEDNESDAY",

"DREAMING LAZA"

AND

"KISS ME NOT ON MY EYES"

WILL BE SCREENED.

admission open to all.

KISS ME NOT ON MY EYES

DOUNIA (KISS ME NOT ON MY EYES)
Egitto/ Francia/ Libano - 2005

Direction: Jocelyne Saab
Screenplay: Jocelyne Saab
Camera: Jacques Bouquin
Editing: Claude Reznik
Sound: Fawzi Thabet
Music: Jean-Pierre Mas, Patrick Legonie
Cast: Hanane Turk, Mohamed Mounir, Aida Riad, Fathi Abdelwahab, Sawsan Badr
Format: 35 mm
Time: 112 min.

Synopsis
After studying literature in Cairo, Dounia, a young Egyptian woman of 23, embarks on a journey in oriental dancing in the footsteps of her mother, a famous dancer. Divided between the fascination of the ancient Arab tradition and the cultural and religious inhibitions of the contemporary Arab world, the young woman seeks her path. Meeting Beshir, a Sufi poet and man of letters, will be a turning point in her life. Dounia will enter .

into deep contact with her body and dance only after having discovered, in the arms of Beshir, the pleasure of the senses and the pleasure of words.

DREAMING LHASA

DREAMING LHASA
India/UK, 2005
35mm, 90 minutes, Tibetan/English

Directed by
RITU SARIN and TENZING SONAM

Produced by
RITU SARIN

Written by
TENZING SONAM

Executive Producers
JEREMY THOMAS
RICHARD GERE
RAJ SINGH

Director of Photography
RANJAN PALIT

Editor
PAUL DOSAJ

Music
ANDY SPENCE

Synopsis



Karma, a Tibetan filmmaker from New York, goes to Dharamsala, the Dalai Lama's exile headquarters in northern India, to make a documentary about former political prisoners who have escaped from Tibet. She wants to reconnect with her roots but is also escaping a deteriorating relationship back home.

One of Karma's interviewees is Dhondup, an enigmatic ex-monk who has just escaped from Tibet. He confides in her that his real reason for coming to India is to fulfill his dying mother's last wish, to deliver a charm box to a long-missing resistance fighter. Karma finds herself unwittingly falling in love with Dhondup even as she is sucked into the passion of his quest, which becomes a journey into Tibet's fractured past and a voyage of self-discovery.
“The beauty of life’s realities! A wonderfully ‘different’ film view of Tibet”
- Neue Zürcher Zeitung

“It's a pleasure to come across Dreaming Lhasa, a drama that unfolds amid crystalline backdrops…the images have a translucent purity; you feel as if you're seeing the world anew.”
- Boston Globe

“Beautifully shot imagery…a delicate and graceful exploration of cultural identity.”
- San Francisco Bay Guardan

“A film of both personal honesty and social insight…a keenly felt and well-told story of nations and the individual people who form them.”
- New York Sun

“This quiet little film is well propelled by the powers of gentle persuasion and emotional subtlety.”
- The Hindustan Times
Film Festivals:

More than 30 international film festivals, including:


30th Toronto International Film Festival, 2005

53rd San Sebastian International Film Festival, 2005

10th International Film Festival of Kerala, 2005

2006 Bangkok International Film Festival

24th San Francisco International Asian American Film Festival, 2006

Human Rights Watch International Film Festival, London, 2006

Voted "Best of Fest"
54th Trento Film Festival, Italy, 2006
Audience Award

Fireworks Wednesday

Fireworks Wednesday (2006)
Alternate Title: Chahar Shanbeh Suri
Running Time: 104 Minutes
Country: Iran
Director: Asghar Farhadi
Cast: Hedye Tehrani, Taraneh Alidoosti, Hamid Farrokhnezhad, Pantea Bahram, Sahar Dolatshahi
Iranian director Asghar Farhadi's third feature, Chahar Shanbeh Suri (aka Fireworks Wednesday), follows Rouhi (Taraneh Alidoosti), a betrothed woman who works for a local housekeeping agency. When she accepts an assignment cleaning the home of an affluent married couple about to leave on vacation, this newcomer to the household is quickly sucked into a virulent nuptial conflict of deceit, treachery, and vitriol that challenges all of her presuppositions about the nature of married life. By cloaking the events of the household (and their precipitants) in ambiguity, and constantly shifting the central perspective of the film from one character to another, Farhadi adds depth and complexity to the work and continually challenges the audience, forcing each viewer to rewrite his or her presuppositions about the characters. Though the film's title refers, in the metaphoric sense, to the explosiveness of domestic strife, the events in the film coincide with the firework-strewn Persian New Year of March 21, which lends the title a literal significance as well

ONE DAY FESTIVAL

AS A PILOT PROGRAMME TO THE 12TH IFFK,
THE COCHIN FILM SOCIETY ,
IN ASSOCIATION WITH KERALA STATE CHALACHITRA ACADEMY
AND PUBLIC RELATIONS DEPARTMENT
IS ORGANISING A MINI FILM FESTIVAL
ON 24TH NOVEMBER 2007.
THE PROGRAMME WILL BE INAUGURATED BY
SRI. SATHYAPAL,
(SECRETARY, KERALA LAITHA KALA ACADEMY)
ON 24TH, 3 PM AT ADHYAPAKABHAVAN,
KARIKKAMURI CROSS ROAD, ERNAKULAM .
THE FILMS "FIREWORKS WEDNESDAY",
"DREAMING LAZA"
AND "KISS ME NOT ON MY EYES"
WILL BE SCREENED
ADMISSION OPEN TO ALL.

MONTHLY ARCHIVE SCREENING

IN ASSOCIATION WITH
NATIONAL FILM ARCHIVE OF INDIA, PUNE

ON 18TH NOVEMBER, 9.15 AM

AT SAVITHA THEATER, ERNAKULAM.



Álmodozások kora (1964)/
(The Age of Daydreaming)

Runtime:95 min /Country:Hungary /Language:Hungarian
Color:Black and White


Writer/Director:István Szabó
Cast :András Bálint Ilona Béres Judit Halász Kati Sólyom Cecília Esztergályos
Béla Asztalos Tamás Eröss László Murányi István Dékány István Bujtor



István Szabó (born February 18, 1938 in Budapest) is both the best-known and one of the most critically acclaimed Hungarian film directors of the past few decades. In the 1960s and '70s he directed auteur films in Hungarian, which explore his own generation's experiences and recent Hungarian history (Father, in Hungarian: Apa (1966); Lovefilm, in Hungarian: Szerelmesfilm (1970); 25 Fireman's street, in Hungarian: Tűzoltó utca 25. (1973)). For the public beyond arthouse cinema, his signature film trilogy consists of Mephisto (1981, winner of an Academy Award for Best Foreign Language Film and a Cannes Award for the Best Screenplay), Colonel Redl (1984, winner of a Jury Prize at the Cannes Festival) and Hanussen (1988). He made a switch to English-language films with Meeting Venus (1991), Sunshine (1999), Taking Sides (2001) and most recently Being Julia (2004), which garnered an Oscar nomination for actress Annette Bening.
His most acclaimed films came from his work with famed Austrian actor Klaus Maria Brandauer, and his ongoing collaboration and friendship with cinematographer Lajos Koltai. In 1996 he was awarded with a Pulitzer Prize for his TV documentary series, "The hundred years of cinema".
Istvan Szabó’s films are notable because he works with a rich spectrum of possibilities and decisions, which only when seen in their totality attain the poetic quality that becomes the viewer’s primary experience. Istvan Szabó reacts like a sensitive membrane to everything that has happened around him in the past or is just happening. At the same time he builds solely from motives that brand a film reel with the mark of an individual personality. This is true even when he strives for seemingly objective symbols such as, for example, a streetcar—“that constantly recurring, tangibly real and yet poetically long logogram for his individual and very special world.” Such were the words of the noted Hungarian historian and film theoretician Josef Marx as he considered the work of director Szabó. They underscore the essential characteristic of Szabó’s work: its inventiveness, which in his films takes on general forms in the broadest sense.
Szabó’s first feature film, Álmodozások kora, together with Gaal’s Sordásban, was the most expressive confession of an artistic generation and became a model for other artists, while his entire work has built up an unprecedented picture of contemporary life and its activities. In his earliest period Szabó’s starting point was his own experience, which he transformed into artistic images. At the same time he carefully absorbed everything that was happening around him. He attempted to discern the essence of modern people, and to come to an understanding of their concerns, endeavors, and aspirations. His films examine young engineers at the start of their careers; the personal ideals of a young man on the threshold of maturity; the changing relationship of two people, framed within a quarter-century of Hungarian history; the dreams and locked-up memories of people living together in an old apartment building; the story of an ordinary city streetcar with an allegorical resemblance to our contemporaries; the love and distrust between a pair of completely different people in a charged wartime atmosphere; and a deep probe into the character of a young actor whose talents are displayed and subordinated by the totalitarian power of nascent German fascism.
All of these films are linked by the setting off of intimate confession against historical reality. The images of Szabó’s films are full of poetry and the symbolism of dreamlike conceptions. They capture the small dramas of ordinary people—their disappointments, successes, loves, enthusiasms, moments of anxiety and ardor, joy and pain—as the history of post-war Hungary passes by in contrapuntal detail. Istvan Szabó creates auteur films in which the shaping of the theme and the screenplay are just as important as the direction, so that the resulting works bears a unique stamp. The heroes of his films are not only people, but also cities, streets, houses, parks. In his films, his native Budapest serves as the point of intersection of human fates. Under Szabó’s creative eye the city awakens, stirs, arises, wounded after the tumult of the war, and lives with its heroes.
In the early 1980s Istvan Szabó deviated from the rule of auteur films (the model for his film Mephisto was a novel by Klaus Mann). This detracted nothing from the importance of the work, which won an Oscar and several other awards. Even in this film the director left his imprint; he managed to develop it into a picture of personal tragedy painted into a fresco of historical events. At the same time, it shows that the creative process is a tireless search for pathways. Only a responsible approach to history and the way it is shaped can help the artist gain a complete understanding of today’s world.
“To awaken an interest in the people I want to tell about; to capture their essence so that a viewer can identify with them; to broaden people’s understanding and sympathy—and my own as well: That’s what I’d like to do,” Istvan Szabó once said in an interview. His films are an affirmation of this credo.

Istvan Szabó
Filmography:

Being Julia (2004)
Taking Sides (2003)
Ten Minutes Older: The Cello (2002) (segment "Ten Minutes After")
Sunshine (1999)
Dear Emma, Sweet Böbe (1992)
Meeting Venus (1991)
Hanussen (1988)
Colonel Redl (1985)
Bali (1984)
Mephisto (1981)
Der Grüne Vogel (1980)
Confidence (1980)
Várostérkép (1977)
Budapest Tales (1976)
25 Fireman's Street (1973)
Dream About a House (1972)
Budapest, Why I Love It (1971)
A Film About Love (1970)
Piety (1967)
Father (1967)
Traffic-Rule Tale for Children (1965)
The Age of Daydreaming (1964)

BESIEGED

JOIN COCHIN FILM SOCIETY FOR A BETTER FILM CULTURE..
In association with COCHIN MEDIA SCHOOL

ON 15TH NOVEMBER 2007, 6 PM

AT conference hall, cochin media school, near south overbridge, ernakulam

Besieged (1998)
(Run time: 90 min.),
directed by Bernardo Bertolucci,
written by Claire Peploe and Bertolucci,
photographed by Fabio Cianchetti and
starring Thandie Newton and David Thewlis.

What we have here is one of that rare breed of movies that can flaunt both style and substance; visual éclat as well as thoughtful thematic undertones. Coming to us from the famed Italian director Bernardo Bertolucci (The Last Emperor, Stealing Beauty), Besieged is an involving, artful love story and a meditative look at lives lost and lives gained as one moves to a higher social existence.
The film begins with African folk music, and a young woman named Shangurai (Thandie Newton) riding her bike along a bumpy road in what seems to be South Africa. Menacing-looking cars pass her, and before long she sees her husband, a local schoolteacher, being dragged to jail. Devastated, Shangurai relocates to Rome (the move happens in a flash: I missed it), where she becomes a live-in housekeeper for an eccentric American man named Mr. Kinsky (David Thewlis).
Kinsky falls in love with the beautiful Shangurai and passionately asks for her hand in marriage, saying that he will do anything to make her love him, to which she responds "Get my husband out of jail!" The impeccably well-intentioned Kinsky backs off, and unbeknownst to her starts a campaign to set Shangurai's hubby free. Evidently, she figures it out and is shocked, because he sells everything, including his beloved piano to make his love happy.
The significance of Besieged lies in the transition between Shangurai's two lives. Her first is the one she led in Africa, and the culture and memories stick with her. She has trouble letting them go; this is manifested through music and her faith for her lost husband. And yet as her life in Rome progresses, she is mesmerized by Kinsky and his existence until finally, in the ending, their heretofore affair erupts and leaves Shangurai's previous life outside the front door.
This is at the core of Bertolucci's film, which actually consists of minimal dialogue. What it does have, however, is visuals aplenty; a cornucopia of gorgeous images and deft camerawork. Bertolucci has a way of moving the camera at blazing speed yet having the film flow smoothly. Watch for this during Shangurai and Kinsky's first main conversation: the lens moves frantically from one face to the other creating a level of tension while at the same time maintaining the film's consistently hypnotic mood and pace.
Bernardo Bertolucci
Very few international directors in the past four decades have managed to remain at the “critically successful” as consistently as Italian filmmaker Bernardo Bertolucci, whose career has straddled three generations of filmmaking, four continents, and several movie industries. Alongside his provocative explorations of sexuality and ideology, his highly kinetic visual style – often characterised by elaborate camera moves, meticulous lighting, symbolic use of colour, and inventive editing – has influenced several generations of filmmakers, from the American “movie brats” of the 1970s to the music video auteurs of the '80s and '90s. Perhaps the most important reason for Bertolucci's continuing relevance has been the intensely personal nature of his movies: although he makes narrative features, very often based (albeit loosely) on outside literary sources, Bertolucci's films over the decades reveal distinct connections to their creator's private dilemmas and the vagaries of his creative and intellectual life. In other words, he has been able to fulfill his dream of being able “to live films” and “to think cinematographically” – to lay bare his inner life through his work.
Bertolucci was born to a prosperous family in Parma, Italy. His father, Attilio, was a well-known poet and writer. He exerted a considerable influence on the young Bernardo, who became an award-winning poet himself at the age of 21 and spent his teen years enamoured with the cinema, thanks to his father's work as a film critic. At around the same time, Bernardo entered the world of filmmaking as an assistant to another Italian poet, Attilio's friend Pier Paolo Pasolini, on the writer's first feature, Accatone (1961). A five-page treatment by Pasolini led to Bertolucci's own first feature, The Grim Reaper (La commare secca) (1962), an episodic, Rashomon-style investigation into the murder of a prostitute seen through the points-of-view of the dispossessed denizens of a Roman park. The impression of youth shows: The Grim Reaper, despite showing some early signs of Bertolucci's personal style (expressionistic lighting, a highly mobile camera, and an inventive, time-hopping narrative structure), feels more like a Pasolini film, not the least because of its subproletarian milieu.
Many of Bertolucci's early films work simultaneously as homages and exorcisms. Pasolini and Jean-Luc Godard were the filmmaker's twin spiritual fathers in the 1960s, and the latter's influence is clearly evident in Partner (1968), Bertolucci's third feature, an attempt at the elliptical, playful, highly symbolic, and politically active style of Godard's post-nouvelle vague filmmaking. A loose adaptation of Dostoevsky's The Double, Partner is the story of a young idealist (Pierre Clementi) who is faced with his politically revolutionary, socially active, and possibly psychotic doppelganger. Full of attempts at Brechtian distanciation (onscreen text, direct address to the camera, etc.), the film today retains a certain fascination for the ways in which the power of Bertolucci's burgeoning lyricism and cinematic confidence clash with the fragmented, highly declarative style of Godard's more political films.

Filmography:
La commare secca (1962)
Before the Revolution (Prima della rivoluzione, 1962)
La via del petrolio (1965)
Il Canale (1966)
Partner (1968)
Amore e rabbia (1969, episode "il Fico Infruttuoso")
La strategia del ragno (Spider's Stratagem, 1970)
Il conformista (The Conformist, 1970)
Ultimo tango a Parigi (Last Tango in Paris, 1973)
1900 (Novecento, 1976)
La Luna (Luna, 1979)
La tragedia di un uomo ridicolo (1981)
L'ultimo imperatore (The Last Emperor, 1987)
The Sheltering Sky, (1990)
Little Buddha (1993)
Stealing Beauty (Io ballo da sola, 1996)
Besieged (1998)
Ten Minutes Older: The Cello (2002)
The Dreamers (2003).

JOIN COCHIN FILM SOCIETY FOR A BETTER FILM CULTURE..


12th IFFK
7th to 14th December 2007
THIRUVANANTHAPURAM

Approximately 450 entries in the various sections have been received. Below find the list selected for various sections of the 12th IFFK.
There will be an update of the list on the 7th November 2007, incase some of these films are unavailable.
List of selected films :

IFFK COMPETITION
1. Teeth of Love/Ai Qing de Ya Chi(db) Dir. Zhuang Yuxin (China/Chinese/114 mins/35mm/2007)
2. Suely in the sky/o Cue de Suely Dir. Karim ainouz (Brazil/Portuguese/110 mins/35mm/2007)
3. El Rey de San Gregorio Dir. Alfonso Gazitua (Chile/spanish/35mm/2006)
4. Turtle family/Familia Tortuga(db) Dir. Ruben Imaz (Mexico/spanish/136 mins/35mm/2007)
5. Strangers/Strangers(db) Dir. Erez Tadmor, Guy Nativ (Israel/English,Hebrew,French/85 mins/35mm/2007)
6. 10+4/Das be alaveh Chahar(db) Dir. Mania akbari (Iran/Farsi/77 mins/35mm/2007)
7. XXY/XXY(db) Dir. Lucia Puenzo (Argentina/Spanish/90 mins/35mm/Apr-07)
8. Sleepwalking Land/Terra somnambula(db) Dir. Teressa Prata (Portugal,Mozambique/Portuguese,Xangana/103mins/2006)
9. Casket for hire/Ataul for Rent Dir. Neal buboy Tan (Philipines/Tagalog/93 mins/35mm/2007)
10. Getting Home/Luo Ye Gui Gen Dir. Zhang Yang (Hongkong, China/Chinese/97 mins/35mm/2007)
11. Bliss/Mutluluk Dir. Abdullah Oguz (Turkey/Turkish/105 mins/35mm/2007)
12. Lord! Let the Devil Steal my Soul/Probhu noshto Hoi Jai(db) Dir. Agnidev Chatterjee (India/Bengali/100 mins/35mm/2007)
13. Four Women/Naalu Pennungal Dir. Adoor gopalakrishnan (India/Malayalam/105 mins/35mm/2007)
14. Paradesi/English Dir. P.T. Kunhi muhhammed (India/Malayalam/134 mins/35mm/2007)
Indian Cinema Today1. Doosra/Doosra Dir. Anand Subramaniam (India/Hindi/114 mins/35mm/Dec-06)
2. The Last Lear/The Last Lear Dir. Rituparno Ghosh (English/122 mins/35mm/35mm/Aug-07)
3. Manorama-Six Feet under/ Manorama-Six Feet under Dir. Navdeep Singh (Hindi/35mm/jan-07)
4. Restaurant/Restaurant Dir. Sachin Kundalkar (Marathi/130 mins/35mm/Nov 06)
5. Zero Zone/Shoonya Dir. Arindam Mitra (Hindi/101 mins/35mm/6-Oct)
6. 68 pages/68 pages Dir. Sridhar Rangayan (India/Hindi/92 mins/digital/May-07)
7. Staying Alive Dir. Anant Mahadevan (India/Hindi/35mm/Jun-07)
New Malayalam Cinema
1. AKG/AKG Dir. Shaji N. Karun (India/Malayalam/35mm/Aug-07)
2. Kayyoppu/Kayyoppu Dir. Ranjith (India/Malayalam/97 mins/35mm/Oct-06)
3. Notebook/Notebook Dir. Rosshan Andrews (India/Malayalam/145 mins/35mm/Dec-06)
4. The Sea within/Ore kadal Dir. Shyamaprasad (India/Malayalam/120 mins/35mm/Aug-07)
5. Rathri Mazha Dir. Lenin Rajendran (India/Malayalam/110mins/35mm/Jan-07)
6. Thakarachenda/Thakarachenda Dir. Avira rebecca (India/Malayalam/99mins/35mm/Dec-06)
7. Thaniye Dir. Babu Thiruvalla (India/Malayalam/35mm/Dec-06)
8. Unni/Unni Dir. Murali Nair (India, france/Malayalam/82 mins/1.85/mono optical/Jan-07)
Short Films and Documentaries
1. Portrait of the Artist as his muse/Portrait of the Artist as his muse Dir. Etienne Desrosiers Canada (English/9 mins/35mm/2007)2. The Dance of the enchantress/La Danse de l'enchanteresse Dir. Adoor Gopalakrishnan, Brigitte Chataignier France (Malayalam/75 mins/35mm/2007)3. Doormat/Doormat Dir. Christy Garland, Susan Armstrong Canada (Malayalam, english/ 65 mins/2006)4. The Lesson/The lesson Dir. Punam Kumar gill Canada (Punjabi/12 mins/35mm/2007)
5. Before the Brush dropped/Before the Brush dropped Dir. Vinod Mankara India (English/31 mins/35mm/2007)
6. A Song for argyris/Ein Lied fur Argyris Dir. Stephen Haupt Switzerland (Swiss,german french greek/105 mins/35mm/2006)
7. Total Denial Dir. Milena Kaneva
8. Waiting for Ben Dir. Norma Marcos France
9. Angola/Angola Dir. Richard Paklepa
10. Triumph/Triumph Dir. Subhash K.R. India (20 mins)
11. In the Shadows/Eth Ekia Dir. Dimitris Apostolou Greece (Greek/15mins)
12. Showtime/Archizi Dir. Theophilos Papastylianos Greece (Greek/16 mins/35mm/2006)
13. Red or Grey/ Dir. Samaneh Momtazmand Iran (Farsi/3 mins/35mm/2007)
14. Coffee Break/Kaffepausen Dir. Johannes Pico Geerdsen Denmark (Danish/10 mins/35mm/2006)
15. Occupations/occupations Dir. Lars von trier Denmark (Danish/3 mins/35mm/2006)
16. A Reunion/Man Nam Dir. Hong sung hoon South Korea (Korean/20 mins/35mm/2007)
17. Show me daddy'd ultra power Dir. Choim min seok South Korea (Korean/20 mins/35mm/2007)
18. The french lieutenant's woman Dir. Baek Seung Bin South Korea (Korean/20 mins/35mm/2007)
19. Pig and shakespeare/Pig and shakespeare Dir. Geon Kim South Korea (Korean/22 mins/35mm/2007)
20. Firn/Firn Dir. Axel Koenzen Germany (German/39 mins/35mm/2006)
21. Wing the fish that talked back/Wing the fish that talked back Dir. Ricky Rijneke Netherlands (Cantonese,mandorin/13 mins/35mm/2007)22. The Parabolic dish/La Parabolica Dir. Xavi Sala Spain (Spanish/12 mins/35mm/2007)
23. The song of the cricket/El Canto del grillo Dir. Danny campos Spain (Spanish/18 mins/35mm/2007)24. Where is estel?/Where is estel? Dir. Jared Katsiane USA (English/3 mins/16mm/2007)25. Orloj/Orloj Dir. Jeane Rektorik Switzerland (French/14 mins/35mm/2007)26. I want to be a pilot/I want to be a pilot Dir. Diego Quemada diez Spain, mexico, Kenya (English/12 mins/35mm/2006)
27. Nasija/Nasija Spain (11 mins)
28. The end/Andhiyum Dir. Jacob Varghese India (Malayalam/14 mins/35mm/2006)
29. Eels/Am im Schadel Dir. Martin Rahmlow Germany (German/18 mins/35mm/2006)
30. Before and After kissing Maria/antes y depres de besar o Maria Dir. Ramon alos Spain (Spanish/7 mins/35mm/2006)
31. Tickets Please/Boletos Por favor Spain (spanish/14 mins/35mm/2007)
32 Nine minutes to nirvana Dir. Naren multani India (English/11 mins/35mm/2007)
33. The sand/Manal Dir. Tony sukumar India (Malayalam/17 mins/35mm/2007)34. Fin/End Mexico (spanish/10 mins/35mm/2007)35. End of the line Mexico (spanish/10 mins/35mm/2007)36. Masculine Iridiscence Mexico (spanish/10 mins/35mm/2007)
37. Little girl waiting Mexico (spanish/10 mins/35mm/2007)38. If eyes can't see Mexico (spanish/10 mins/35mm/2007)39. Distinguishing Features Mexico (spanish/10 mins/35mm/2007)40. The Groundwork/Kaliyorukkam Dir. S sunil India (Malayalam/46 mins/35mm/2007)41. Great Expectations/Grosse Erwartungen Dir. Pascal Leister Germany (German/7 mins/35mm/2007)42. All about it/ Mexico (spanish/10 mins/35mm/2007)
43.Remembrance of things present/Remembrance of things present Dir. Chandra siddan India, Canada (English , Kannada/80 mins)44. the city of photographers/La Ciudad de Los Photographos Dir. Sebastien Moleno Chile (Spanish/80 mins/35mm/2006)
45. Nomads TX/Nomadak Tx Dir. Raul de la fuente Spain (Basque, Spanish, gujarati, Tsaatan, bereber, french, Sahuraui, suomi, english/86 mins/2006)
46. Loving Maradona/Amando a Maradona Dir. Javier Vazquez Argentina (Spanish/75 mins/2006)
47. Marcela/Marcela Dir. Helena Trestikova Czech Republic (82 mins/35mm/2007)
48. Kahloucha/Kahloucha Dir. Nejib Bekadhi Tunisia
Student films
1. Seashore/Theeram Dir. Sanju Surendran India (Malayalam/20 mins/35mm/2007)
2. My Best friend Dir. Swaroop Srinivas India
3. Karna motcham/Son of Sun is strongest Dir. S. Murali Manohar India (Tamil/14 mins/35mm/2007)
4. The lost rainbow/Harvalele Indradhanushaya Dir. Dhiraj Meshram India (Marathi/22 mins/35mm/2007)
5. Echoes of silence Dir. Reema borah India (English, Khasi/24 mins/35mm/2007)
6. The fantastic life of Mr. Tripathi Dir. Amit raj India (Hindi/22 mins/35mm/2007)
7. Red Shoes/lal juto Dir. Shweta Merchant India (Bengali/23 mins/35mm/2007)
8. Chinese Whispers/ Dir. Raka Dutta India (28 mins/35mm/2007)

APPLICATION FORMS FOR THE DELEGATE PASSES OF 12TH IFFK

ARE AVAILABLE WITH THE COCHIN FILM SOCIETY.

PLEASE CONTACT IMMEDIATELY.