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Henry Taylor
Henry Taylor

Mumbai 118 2015 Movie

Court premiered at the 71st Venice International Film Festival in 2014, where it won the Best Film in the Horizons category and the Luigi De Laurentiis award for Tamhane. The film went on to win 18 other awards at several film festivals. It premiered in India at the International competition section of the 2014 Mumbai Film Festival and was released theatrically on 17 April 2015. Upon release, the film received critical acclaim and went on to win the National Film Award for Best Feature Film at the 62nd National Film Awards.

Mumbai 118 2015 Movie


Court was acquired by Artscope Films of French producer-distributor-sales agent Memento Films in late August 2014, after producer Alexa Rivero saw the film.[12][29] In December 2014, they sold the film in four countries: Canada, Greece, the Middle East, and Hong Kong.[7] On 3 February 2015, American independent film distributor Zeitgeist Films announced that they had acquired the film for exhibition in the United States.[30] It had its US premiere at the 44th edition of the New Directors/New Films Festival at New York City on 18 March 2015.[31][32] Ron Mann, a Canadian documentary filmmaker, who was one of the jury members at the Venice Film Festival, acquired the Canadian distribution rights for the film.[12]

Jay Weissberg of Variety wrote: "Managing to be both extremely rational and extremely humane, the film works so well thanks to an intelligent, superbly understated script and a feel for naturalism that extends beyond mere performance."[14] Neil Young of The Hollywood Reporter stated that the film was a "compellingly clear-eyed indictment of modern-day India's institutional dysfunction".[56] Reviewing for Le Monde, Jacques Mandelbaum called it "a major movie on the worrying state of freedom of speech in the Indian democracy" and praised the "intelligence and sensitivity" of Tamhane.[57] In his positive review of the film, Mike McCahill of The Guardian complimented Tamhane: "Here's a film-maker training a sharp, prosecutorial eye on those harsh homefront realities Bollywood has traditionally permitted audiences to escape."[58]

By Shilpa Jamkhandikar MUMBAI (Reuters) - A film looks set to whip up sentiment against immigrants in Mumbai, the country's financial capital, by lionising a deceased right-wing politician and endorsing his often divisive policies. "Balkadu", or "Bitter Potion", produced by a prominent lawmaker of the Shiv Sena political party, opened in India's most cosmopolitan city on Friday, the birthday of the party's firebrand founder, Bal Thackeray, who died in 2012. The film, made in the Marathi language spoken in Maharashtra, which is roughly the size of Italy and has a population of about 112 million, spews venom at outsiders who come to Mumbai to find work. "It was an issue close to Balasaheb's heart," said producer Sanjay Raut, referring to the party's founder. The film would help the Shiv Sena reach out to the young people of today, he added. The influential regional party has long espoused an anti-immigrant stance, accusing arrivals from the rest of India's 29 states of stealing jobs from sons of the soil, usually those who speak Marathi as a first language. Descendants of the original inhabitants of a city that now numbers 21 million find themselves in a minority and resent the migrants. Government data shows fewer than 30 percent of registered voters identify themselves as natives. The protagonist of "Balkadu", a schoolteacher who hears Thackeray's voice in his head, tells immigrants they are welcome to stay as guests in Mumbai but have no rights. The voice of Thackeray, a one-time newspaper cartoonist, is heard in dialogue spliced in from real-life speeches, exhorting natives to hold on to their city. "The movie is an entertainer, but it is also a message to the Marathi youth, who were feeling rudderless after Balasaheb's death," said Raut. Last year his party returned to power in Maharashtra, as the junior member of a coalition headed by the Hindu nationalist Bharatiya Janata Party of Prime Minister Narendra Modi. The Shiv Sena's reins are now held by Thackeray's son, but it is no longer the powerful force of the 1990s. Thackeray's estranged nephew broke away in 2006 to form a rival party. RETURN OF THE NATIVE? Playing on xenophobic tension that has simmered for decades, the movie blames "parasitic" immigrants for everything from unemployment to women who marry outside the community because few Marathi men own homes in the city. At one point, the protagonist justifies violence against immigrants, a stark reminder of attacks that outsiders in Mumbai have faced over the years. Santosh Patkade, 20, who moved to Mumbai three years ago from Karnataka, said he would watch "Balkadu" as he is curious about the film and its message. "If we don't stay here, who will?" asked Patkade, who dishes out food in an office canteen. "What will happen to the poor people?" Opening in more than 450 theatres across Maharashtra, "Balkadu" got an unusually wide release for a Marathi-language film, although mainstream Bollywood films can open on up to 3,000 screens countrywide. At the film's climax, Maharashtrians living in the suburbs storm the city to reclaim their right to live there. "Yes, people compare Thackeray to Hitler, but so what?" asks the protagonist. "Yes, there has been violence against immigrants, but so what? That is why the world has noticed the Marathi man." (Editing by Robert MacMillan, Tony Tharakan and Clarence Fernandez)

The original movie saw Gillick, a former prosecutor-turned-assassin following the murder of his family, join a US government task force to help take down the leader of a brutal Mexican drug cartel. Though he had fleeting moments of being a good man, he could end the lives of children with as much ease as he ends the lives of adults.

The movie has certainly come at a resonant time; the separation of immigrant children from their families at the Mexican border led to a global outcry with many in Hollywood, and across the world, protesting the horrific sanctions. Del Toro himself criticises the measures executed by the U.S. Immigration and Customs Enforcement (ICE).

Glionna wrote that capex spending will continue growing in 2015, but the plunge in spending from the energy sector is a major limitation. Capex growth will be between 1% and -3%, and Glionna notes that capex spending peaked at $730 billion in 2014.

By Michael Roddy BERLIN (Reuters) - An Arctic survival movie about two women - the wife of North Pole explorer Robert Peary and a young Inuit - fighting for their lives together in a snowbound shack kicked off the 65th Berlin International Film Festival on Thursday. "My first bear," high-society matron Josephine Peary, played by French actress Juliette Binoche, says triumphantly in the opening moments of Spanish director Isabel Coixet's "Nobody Wants the Night" as she fells a polar bear with a single shot. Life goes rapidly downhill as the bullheaded and wealthy Peary forces Inuits and veteran Arctic hands, one of them played by Irish actor Gabriel Byrne, to take her on an ill-fated foray to find her husband, whom she rarely sees at home in Washington, in 1908 during one of his attempts to reach the North Pole. Mrs. Peary's voyage of self-discovery in the ice and cold, in a film that says it is "inspired by real characters", includes finding out that the Inuit woman Alaka, played by Japanese actress Rinko Kikuchi, has had sexual relations with her husband. Despite that, the two bond, in a female take on a buddy movie, as they struggle to survive with no heat and only dog and seal meat to eat. Spanish director Isabel Coixet fended off suggestions the significance of her film lay in the fact it was only the second work by a woman director to launch the prestigious Berlin film festival. "We talk about gender...the way we talk about it is going around in circles," Catalan told a news conference. "I want more money for women, I don't want equal pay, I want more." Although the script is the work of a male scriptwriter who Coixet pointedly said "is not gay", the film is an intimate and deeply personal look at two women forced into a relationship that results metaphorically in Mrs Peary's rebirth as someone with a greater understanding of what it is to be human. "She (Peary) goes into the wilderness and she encounters a new way of feeling, a new way of behaving," Binoche said. "I had this image of being a peacock in the film, and becoming the dog with four legs on the earth, trying to survive." Stephen Schaefer, film critic for the Boston Herald newspaper, said the film was "a wonderful departure" as a festival opener because it had "none of the hallmarks of being a big, glitzy, global movie". Coixet's film was the first to be shown of 19 that are in contention for the main Golden Bear prize awarded on Feb 14. (Editing by Mark Heinrich)

The monster debut by the hugely anticipated space opera erases any doubt that the 2015 domestic box office will be the biggest in history at over $11 billion, and Rentrak revised its estimates for the year to reflect that on Tuesday.

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