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If one wants to watch a film where each frame speaks in its totality whether its scenic beauty or visual aspects of characters portraying the emotions and where camera’s physical presence is almost absent from the screen and it fulfils the sole purpose of becoming the medium to show something, which is significant to the story, on screen and not for a single moment one realises the movement of the camera though in reality its moving but its moved in such a fashion that it keeps pace with the movements and moods of the characters then Naalu Pennungal is the film that fulfils these demands. Camera should not show its existence in an explicit way in such a character driven film and which is resting on the social customs, human behaviour and psychology. And not to mention that in spite of slow moving or static camera work, film …

…..and a few more words for Mumbai industry

Adoor Gopalakrishnan has resolutely been following a style of storytelling on the big screen that has a definite vision and sincerity of approach, never compromising with his ideals as a creative persona. For him, filmmaking is more than an art form – it is also a social statement and documentation. His sincerity to his craft is unquestionable, and his integrity towards it comes to the fore in his resolute decision not to make a film outside the immediate environs of Kerala as self-admittedly, he would fail to capture the societal nuances of places whose social history he does not know. Gopalakrishnan is in the process of completing his new film, which like his previous film “Naalu Pennungal” (Four Women), is also based on short stories of legendary Malayalam author Thakazhi Shiva Sankara Pillai. Here Gopalakrishnan responds to a range of questions on cinema as he sees it:

Q: The “Naalu Pennungal” …