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And all kinds of audiences, it's not the usual festival like you think that may be padhe likkhelo ga rahe the same kind of film watchers are coming there are all kinds, there are students, there are doctors, there is a riksha pulla there are across class people come Home to one of the largest film industries in the world India comprises of Hindi films more popularly termed Bollywood with a larger chunk belonging to cinema of other regions it is the regional cinema that forms a larger part of Indian film industry not only in numbers but also style and substance each region of India has its own cinema cinema with a significant purpose within its own creative framework when we talk of Indian cinema we talk only of one facet of our Indian cinema previously it used to be only Satyajitre today it is only Bollywood I don't think Indian cinema can be restricted to these kind of labels Satyajitre has made tremendous contribution to Indian cinema and so has Bollywood has its own place and significance in Indian cinema one just cannot wish it away or deny it but nonetheless it doesn't end there there is so much beyond all these things and the regional cinema in our country is making a definite statement in Indian cinema scenario the regional cinema has cut more my leg that's number one and it has got more importance and even in making also it occupies nearly 75-80% of the total production in India despite the continuous and growing impact of urbanization secularization and westernization in India people learn the essential themes of cultural life within the bosom of a family the relationships both in ideal and in practice remain the primary social force in the life of most Indians a distinct part of Indian cinema this is a story about three generations wherein the grandfather is treated by his son and his son now sends him a very straight message Dad, you had done this to your dad can't I do this to you? I can so it's a very emotional melodrama which typically defines the relationship between a father and a son and a grandfather and a grandson and how important it is to take care of our own elders especially in these days or whatever generation you take the movie casts an effect do you see? there's nothing like that what else can you see? there's nothing like that there's nothing like that I've said everything in my mind I'm going to leave this place tomorrow man-to-man relationship and also relationship between a father and a son did you see? you've been here since you've seen my mother first time I don't know I don't know I haven't said anything I thought of making this from after my father died you've seen me and I thought I had many things to tell him he also had many things to tell me couldn't make time to sit and talk about all those untool words and untool stories. I think every father has a story to say to his son and every son has a story to his father to say but they never exceed those stories. Families system and the hierarchies in the family and the values in the families have always been a way of talking to the people as to what are values, what is good behaviour, what is respect to elders, what is the way you treat villagers, what is the way you treat urban people, what is the way you treat illiterate people versus educated people. So these are the various discourses that occur in these cinematic stories which when audiences watch they see meanings of how to groom their own society and their social fabric. Gender based films create an awareness of women's position in society, at work and within the family. Depicting of a conscious action by women and men to change situations has become the most thought provoking cinematic expression of any region. No. How long have I been standing here? Please open the door. You go to heaven. I am not the one who knows you. I have made a mistake. I should forgive heaven. My mind went blank. But no. There is no such thing. There is no such thing. There is no such thing. A woman should be able to live alone. Four women, four women. It covers actually a period of 20 to 25 years. And it starts in the pre-independence time and then it goes on to the middle of the 60s. So there are four stories in it. Each story has a woman at the middle, at the centre of it. And it's about that woman. It talks about, in fact it's a cross-section of the women who lived in Kerala at that period of time. And there are four different strata. There are four different levels and four different levels of perception about awareness. Marathi director-actor Amol Palikar's Thang, or The Quest, made simultaneously in English and Marathi, recently premiered at Brisbane, has raised questions on the complexities and intricacies of gender play and sexual politics from various angles. No ban for me anymore. Will there be a woman instead? Don't get sucked into the turmoil all over again. Gay sex? Impossible, I say. We are not child molesters or criminals. We get up in the morning, we do our work, we go for shopping, we pay our taxes, we laugh with our friends, we fight about politics except that we love someone of the same sex. I don't think my films are controversial. They are certainly thought-provoking. They make you think, they raise lots of questions, which is my, so to say, my process of filmmaking itself, or my urge to make a film. It dealt with a very important educational issue. We brought into focus the neglected ones, you know, the children who were faceless, but are a very important part of our society. Apart from the film getting lots of awards and all that, and children liking it, it went houseful almost for, it ran for more than 40 weeks in theatre. There Varega Shikshak, Sam-Ai-Cha, Nikal Patra deti. There Dau-Vee Fo, the students of Dau-Vee Fo, are working on the same project. They have launched a project with the help of their own education. They have run a film, with the support of the environment, and the education of the society. They have run a film, with the support of the environment, czywiście from North India that is considered as the school of education, and Government of Maharashtra, with the special reference to our film, has changed its educational policy, which was very important to us certainly. Also, there were many seminars organised, सगर तोडले लग पोडले लग, तुमी जोडंगे लग तैरा आद. वो साथ, वो साथ, वो साथ. इमरजिं फुं ओल सेँमन्स अफ सोचायती, जंदर इख्वालती अन विमन्स इंपावामन्त, आप विमन राइट्स दे लाए within the heart of an Indian woman. यह इस जा थी पुझा चाए बिटाः है, वह विमन्स इन रब विमन्स डागे लग. आप विमन्स ना वाए एक। ना दा शंकरन बनाख कम यह वर था ये वकील. तार कैन नफला थेरीमें. इन्न सार, मरतते बहींट्टा? चल्लमा केस ले, नवध रोक ले, in the middle of the court. it was going to explode, explode, explode! how would she have forgotten about it? you have called it a case and made it random, now the bank has called it a case and called it not, I am the lawyer for the bank! I have come one full round! the punishment for justice, will only come later. did you file the case? yes, I filed it, your papers. why did you search for this case? on what grounds? continuous harassment by husband, compulsive debauchery, calculated neglect of the wife and child, ...always indulging in abusive language, causing mental torture. Communalism and terrorism have long vied for the title of cinema's favourite bad guy. Bringing out the clear divide along political lines and raising doubts about the futility of such an exercise, regional cinema has effectively portrayed its effect into a humane issue. When he talked of Bombay, he spoke of what happens when communal riots take place. In short, the impact that violence leaves on society, on the lives of individuals. He dealt with that so beautifully that people became more aware that even though I am staying deep down in the south, a problem up there in Srinagar several thousands of kilometres away can affect me. Even though I am here, even though I am in the maybe suburbs of Chennai, what happens in Bombay can affect me. Even though I am here, what happens overseas in Sri Lanka can affect me. And how it impacts an individual, how much it harms his psyche, let alone his domestic life, that was being beautifully visualised and presented to the audience in Mani's films. That way he is brought about the impact of violence on the average human being. Apart from showcasing effects of terrorism, regional mainstream cinema has also delved into alternate issues like globalisation, environment preservation and conservation, a much-needed expression. इदेने बैंस्तें दे बैंबाज्तो, शेशा उती ते व्यापा, शाईब दे रामु ले व्यापा शापा. दाखे is about a person, you know, it's about a fading aristocracy, the protagonist is a blind man. But he has become blind because of glaucoma. We had seen the world for many many years, then became blind. And there is another character who is born blind. It's about what we see, what we don't see. In our society we can see certain things, but sometimes we don't want to see. It's again a very personal film where my own family acquaintances and many friends, they are all involved. And also the time. Because, you know, since the late 90s we have seen a sea of change in our society. Because we have entered into a consumer economy, in a market economy. And we could see the reflection everywhere in our lives. So it's about that. I love that film. It's very personal. And also the film did very well. I don't know because, you know, a lot of people said it's a very difficult film. It's a very complex film. But people enjoyed it. So sometime people, I think, you know, in cinema you can create some kind of magic. People don't follow all your understanding. But certain magic works. Gautam in Abar Aur Ne and Dakha and his latest release, Kalbala has very directly addressed the change in political scenario. And in that scenario he has addressed the issue of environmental damage. And these films have at least they have created a lot of discussion. A lot of talking about the cinema which has generally been absent in the Bengali cinema scene. If you go to a village and sit there, you will see that your mind is calm. Okay. We don't understand the village. That's why in the world the people get confused. Regional cinema will have to evolve by creating its own distinctive motive different from that of Bollywood. If it simulates the same kind of styles that are prevalent in Bollywood today it will not be able to create its own distinctive character. It is the substance. And the substance, the more regional it is the more experiential it is the more deep-rooted it is the better it is for their films. And such films I can tell you in the last ten years especially in Tamil cinema they have all been huge successes. The more rooted they are the more successful they are. Cinema is such a powerful tool and today's heroes have such major following amongst the fans that one word from them can change and in fact does change the perception of people towards problems. Now Rajanikanth when he comes into the screen the way he looks the way he dresses and the way he talks all the time demonstrating the archetype of what I call as a street person. Now if they are the majority in the country then they should express their opinion. I mean you have a bipolar system where on the one hand Mr. Kamal Hassan a rationalist and atheist on the other hand Mr. Rajanikanth is a theist a very firm believer in God each of them talking about their philosophies in their films not necessarily directly but probably indirectly. I know I have a commitment to these people I have taught my admirers fans or whatever to become my partners in social service and this has got no politics I have been doing it for 30 years there are people who are greying who came in as early in that early 20s to join me when I told them that don't waste your man hours in propping up an icon which is doing its job anyway so you don't have you're wasting man hours so let's do something so now slowly a group of film fans have been turned into blood donors eye donors social service servants and I lead them and I take pride in that yes it is also reaching to people through cinema basically Marathi is my language and any good effort maybe it is a very small effort done in Marathi film if I don't see it then who is going to see it kind of Tamil cinema I watch I prefer it to be something to have a personal connection between the film it should be more realistic I have seen the movie Tagore it is very nice there is a corruption in the society it is very nice to say that I have to award it it is very nice whatever it is it is a comedy it is a comedy it is a comedy it is a comedy like in the film you have to leave a film you have to take a picture and go out and enjoy it is a real life I prefer to see films which will be there with me for some time will make me think a little I like films in films and films in films with children I like films with children and I like films with people I like films with children seeengineers and using cinema as a sort of pathway we definitely do change our lifestyles our attitudes because cinema which incorporate a lot of violence definitely makes the youth more agressive and agitated whereas cinema which tells you to love and which tells you to be close to family and friends Wissenschaft ఆిరివా, లeredith కాస్లా, ‫ల౵నా కాениలికిక్ philosophy liquor-arialopus Japanese scholar and it's not totally ag ... ... ishna maa which will go on staying with us, with our minds. Definitely, we give more trust on regional cinema. I think every moviemaker should keep that in mind and really work on bringing about a social issue, a family issue, or bringing about any issue that they believe in to the limelight and make sure profound innovation is actually crucial in building Indian cinema as a movie about India you see that every national and region is in India must have a distinct flavour and I think this diversity has to be respected and so Bengali film must evoke the ethos and the culture of Bengal and the Tamil cinema must evoke the culture and ethos of Tamil Nadu levant of the enteros, relevant to the culture of the world and to the connections between nations and languages of the world.  뭐가 叙 エマー 身 in the region  叙 エマー 身 in the region  叙 エマー is the the whole with hindi cinema.  यस the roti  यस the sabzi   कु़  आश the raita २ २ ॉ ॢ ० । । । । । । । । । । । । । । । is the full meal called Indian cinema.