THIS SHAKING KEEPS ME STEADY (Dir. Shehrezad Maher, 2018, Pakistan / U.S.)

1527091465editor_this_shaking

In a measured yet painterly wide shot towards the end of what is a hybridised work Maher trains her erudite eye under a bridge, a sort of non-space with a phantasmal ambiance. The familiar concrete structure of the bridge and the calm waters of the river act as a visual memory to a story narrated to us by an ambulance driver. The story is about a woman who tried to commit suicide jumping from a bridge. It is a traumatic memory that forms a composite of recollections by ambulance drivers that are juxtaposed to fictional reconstructions of real life tragedies for television. Closer to an atmospheric and experimental video essay than a documentary, Maher’s choice to fragment recollections into a non-linear narration lets us hear the neglected voices of Karachi as distinctly porous. Re-enactments staged for news media and TV dramas point to the artifice of performativity but this betrayal of reality is seemingly challenged by the ways in which memory also distorts history. But it is the stories narrated by the ambulance drivers that resonate with you long after the film has ended, a reminder of the ways in which an impoverished underclass props up a society with unsung acts of altruism.

You can find out more about Shehrezad Maher’s work here: http://www.shehrezadmaher.com/

 

VIDEO ESSAY: THE POETICS OF ARAVINDAN

A Video Essay in 3 Chapters on Govindan Aravindan’s 1979 film Kumatty (The Bogeyman, India)  – Nature | Topography | Magic

This new video essay looks at a few of the aesthetic and thematic ideas in the work of Aravindan’s Kumatty (1979). There seems to be a lot of Indian films which are being restored, occasionally playing at film festivals or selected film events. Yet there still seems to be no viable means of distributing marginal, alternative or forgotten Indian films whereby a wider audience can get access to them. I’ve been quite surprised by Netflix, which has a healthy list of contemporary Indian titles from the independent scene, a welcoming shift in terms of making streaming more accessible for new and alternate Indian cinema. What we really could do with now is some kind of distribution model, perhaps an Indian streaming version of Mubi, that can curate, provide a platform for critique and engage with Indian cinephile culture in a more democratic way. For instance, John Abraham’s Amma Ariyan and Aravindan’s Kumatty are circulating on the internet in newly restored prints, which makes the job of the Indian cinephile somewhat worrying, especially since these two films in particular deserve a legitimate DVD/Blu-Ray/Online release.

It is noble and right that preservation has started to become a significant issue in Indian cinema today and much work is being done to protect and preserve the legacy of Indian film history. But what is the point of this exercise in film preservation if ultimately only an elite actually get to see the newly restored Indian film classics? The initiative becomes counter productive to the field of Indian film studies if it does not aid the process of revising the history of Indian cinema, scholarly research and cinephile culture. By all means let us preserve, restore, exhibit Indian Cinema but we must also remember the significance of distribution – this is where an understanding, appreciation and love of Indian cinema is likely to have the greatest impact. But this change can only come about through investment in new, innovative and alternative distribution models.