Список из самых популярных хештегов по теме #FILMSHOOTING

The many roles of a cinematographer! Comment below if you are a cinematographer, we have something exciting coming up! #IndiaFilmProject

What would you do in this situation? #IndiaFilmProject Comic by @kissfilms

Celebrating 59 years of #MughalEAzam: A song is mostly an interlude of aesthetic pleasure suspended from the narrative, instead of being a part of the story's engine. Rarely does a mid-narrative song 'become' the narrative itself, instead of just commenting on it. And rarely is it done as powerfully as "Pyar Kiya To Darna Kya". There's a reason why it is so specially difficult to look away from - unlike most other songs, it has both strong narrative and aesthetic appeal. When looked carefully, this song sequence is equivalent to the "twist" of a narrative. It's when suddenly the film turns from fear into defiance. K Asif builds up his story to the point of this song, builds anticipation for an upcoming performance by Anarkali that everyone hopes will be celebratory of Akbar's regime. Moreover, the other songs that we've heard in the film upto this point, have all marked the building of love. "Teri Mehfil Me Qismat Aazmakar" is Anarkali's admission to giving this love a try. "Prem Jogan Ban Ke" is her falling into love. "Humein Kaash Tumse Mohabbat Na Hoti" is the regret of love, and "Mohobbat Ki Jhoothi Kahani" is the cursing of it. We finally arrive at "Pyaar Kiya Toh". It's like the pivot of K Asif's see-saw narrative. It's when love begins to push tyranny back. And what breathtaking aesthetics to accompany this narrative shift! This performance is not just about love against tyranny after all. It is the rebellion of art against power, of beauty against oppression. The song has a long prelude when Anarkali simply mesmerises without vocals. It is here that she's taking Akbar and others into the spell of her performance before she can smash their powers. Anarkali makes Akbar smile before she can make him swell with powerlessness. So much so that when the performance ends, Akbar can only voice his punishment of her while praising her too. He orders his guards to take her away, she leaves with a Salaam. Written by @fablesoffilm Love weaving words into beautiful stories? Participate in STORYTELLING CHALLENGE More details on LINK IN BIO. Download the IFP app from bit.ly/IFP-App or LINK IN BIO. #IndiaFilmProject #DecodingTheSong

#BetweenTheLines: One of the reasons why Thondimuthalum Driksakshiyum is a masterpiece is because of how the character central to the plot has been treated. Newly married couple Prasad and Sreeja are traveling by a bus, and Sreeja dozes off. The first three frames above clearly show us that the man sitting behind her carefully and dexterously entwines her gold chain in his finger and slides it off her neck, and is also later seen to put the chain in his mouth in a fraction of a second as Sreeja suddenly wakes up. They take him to the police station but the thief calmly denies having stolen the chain and then swallowing it, sticking to his argument throughout the film. He unflinchingly looks into Sreeja's eyes with a smile and mocks her, saying that she must be dreaming. Despite being quite an open-and-shut case with other eye witnesses in the bus, this simple act of theft is layered with mysterious connotations. At times we are probably even made to rethink our opinion, rewind back to the theft scene and check if he had actually managed to do it. Who is this thief? He calls himself Prasad, interestingly the same name as Sreeja's husband, as if he couldn't think of a more different name at that point. What is his father's name? He says it's Purushan, a common noun for any male person. Where does he live? House on a field of stones. Moreover he has got no ID on him, symbolising an enigmatic anti-genie of sorts who seems to travel from one place to another taking away things from other people. Not naming this thief has made him powerful in the eyes of the audience - someone who can be anyone, go anywhere and do anything, and at the same time created an air of empathy for him. We know he has committed a crime, but we still want to root for him, and we feel sorry when the police beats him up. Fahadh Faasil has played this character with extreme conviction, and it is hard to imagine anyone else in his shoes. Written by @gangsofcinepur #IndiaFilmProject

An artistic reel? A beautiful word in a different language? Tell us! #LetsChat #IndiaFilmProject

#BetweenTheLines: Aruvi came from a usual loving and caring family, and could be a regular cheerful twenty-four year old like any of us, but her story is unlike any that we have possibly heard. A victim of ostracism and misogyny, she sets out to question everything that makes the society look like what it does - a mechanical system driven by consumerism, corruption and crime. She appears on the sets of a reality show where people come with their grievances and culprits, and irrespective of whether their issues are solved, the production house feeds on TRPs generated by the audience who remain glued to their TV sets just for the drama. Although circumstances have made her fearless to a large extent, can Aruvi completely forgo her innate sensibilities that make her a human and a woman? Harsh realities of life have been trying to kill her softness and innocence, but Aruvi seems to be trying to hold on to them as strongly as she can. She wants to love, be loved, walk and live freely, stay happy and healthy, and above all, be accepted. But the so-called rules of the society deprive her of these basic rights and necessities. As she fights with her own existential crisis, she also discovers how futile the lives of people actually are - where everyone has to go on doing things without will and understanding, participate in a rat race to make their presence known among and above others, keep fulfilling demands that the society dictates for their sustenance, and therefore remain stuck forever in a loop of satisfying and being satisfied. . :@gangsofcinepur . Think you can make keen observations in films? Share your writing with us. Download the IFP app from LINK IN BIO. #IndiaFilmProject

#FriendshipDay Special: Dosti (1964) Director: Satyen Bose Writers: Ban Bhatt (story), Govind Moonis (dialogue & screenplay) Starring Sudhir Kumar, Sushil Kumar, Sanjay Khan Dosti is the story of friendship of a lonesome studious blind boy with a crippled street singer. The two earn a living by singing and playing the harmonica. Both actors have given one of their best performances. One of the film's highlights is the music - scored by the then newcomers Laxmikant-Pyarelal. The film won a National Award for Best Film. Love watching classics? Share your take on them! Download the IFP app from bit.ly/IFP-App or LINK IN BIO and start contributing! #IndiaFilmProject

#PausedOnPurpose: A Death in the Gunj is centered around the character of “Shutu” - a docile, timid and reserved character in the film whose existence is not very significant to others in the family. In fact it’s almost heartbreaking to see him being neglected for most part of the film. There’s just one character who has stayed with him majorly i.e. “Tani” While he and Tani were playing in the fields near the house, Tani searches for the family tree and soon as she finds it she checks the whole tree and reads the names of all family members one by one. She very innocently asks Shutu that why his name is missing on the tree. Shutu knows why it’s not there and knows how he is treated like an outcast, but he gently dismisses poor Tani by distracting her. His name not being there was a pretty clear sign that he was never considered a part of the family, neither was he treated like that. That is why throughout the film one feels the sorrow for Shutu as a viewer, your heart goes out to him. The third frame is one of the most hauntingly beautiful frames we have seen in contemporary Hindi films. The blood is dripping and sliding all over the tree veins and is shown for a few chilling seconds. *Spoiler Ahead* We all know (or at least can safely assume) that it’s Shutu’s blood, but his face or body was never shown after that. Our interpretation is that through this frame it’s reassured that Shutu could never have been a part of that family tree but it’s only soul-crushing to see him imprint his presence this way on the tree. - Think you can make such observations from films? Download the IFP app for LINK IN BIO and start contributing! #IndiaFilmProject

寒みぃーなぁ #長渕剛 #tsuyoshinagabuchi #映画太陽の家 #filmshooting