“Big Score”

A cult favorite of British cinema, “Big Score” (Lock, Stock, and Two Smoking Barrels) is a true story that was released in 1998. Guy Ritchie, who made his big screen debut and introduced fresh artistic approaches and stylistics to the film industry, is the director of this film. Both reviewers and viewers praised “Big Kush” for its uniqueness, gripping plot, and superb acting performances.

The film narrates the tale of four young London boys who, following a losing card game, get sucked into the perilous world of crime. They had to get out of the most precarious situations — facing other criminals, the police, and their own fears — in order to return a substantial amount of money to a local mobster.

Boxing fights and betting card games are major plot points that highlight the suspense and danger that the main characters’ lives entail. This film is thrilling and unforgettable because of its dark humor and surprising turns of events.

Guy Ritchie’s “Big Kush” marked a turning point in his career and had a profound effect on both British and international film. Both reviewers and viewers appreciated the movie, and it is still a well-liked and sought-after piece of cinema.

“Slumdog Millionaire”

Directed by Danny Boyle, “Slumdog Millionaire” is an exciting drama-romance that debuted in 2008. The film narrates the tale of Jamal Malik, a small child from Mumbai’s slums who, after taking home a significant prize from the Indian version of the television program “Who Wants to Be a Millionaire?” finds himself thrust into the public eye.

Jamal, the primary character, is neither a man from a well-to-do family nor a graduate student. Rather, he was raised in Mumbai’s slums and has endured great adversity since he was a young child. The authorities are skeptical of him, nevertheless, because he manages to answer questions on TV shows with remarkable accuracy despite all the challenges.

Viewers will discover through parallel tales the challenges and tribulations that Jamal faced throughout his life, as well as the people he encountered and the choices he made in the most trying circumstances. Drama and mystery permeate the entire film, peaking at the very end when everything is revealed.

“Slumdog Millionaire” is a narrative about survival, love, and self-belief in addition to one man’s win in a game of chance. It demonstrates that if someone fights to the very end without giving up, even the most astounding aspirations can come true.

“Rounders”

John Dahl’s 1998 film “Rounders” is a cult classic that explores the world of underground poker. Matt Damon plays Mike McDermott, a young poker pro who is at the core of the story. Mike makes the decision to come back into the game to assist his pal, who is deeply in debt, after he discovers that his debts to the mob are putting him in risk.

Every move and wager in the film can decide the fate of the protagonists, immersing the audience in the thrilling and enigmatic world of underground poker. The tension and danger that surround this game are portrayed through tense moments at the card table.

One of the most important scenes in the film illustrates how weaklings have no place in the realm of gambling. Heroes must make difficult choices that could endanger their future and lives in order to save their companions and win the game.

Because of its distinct tone, gripping story, and superb acting, “Rounders” became a cult favorite. It proved that loyalty, friendship, and integrity could still exist in a world when money and power rule.

“Inglourious Basterds”

Director Quentin Tarantino’s 2009 film “Inglourious Basterds” (Inglourious Basterds) shot a lot of buzz upon its release and rose to prominence. Within the film, which takes place in an alternate timeline of World War II, a group of American spies known as the “Inglourious Basterds” plot to kill Nazi leaders at a film premiere in an occupied Paris.

Sports betting is the subject of one of the film’s most significant scenes. The movie director is their ally, and the characters are wagering on whether or not he can successfully navigate the challenges ahead of them in order to have a successful launch. The already suspenseful mood of the film is further enhanced by this wager, which increases unpredictability and stress.

With its many characters, complex storyline, and engaging dialogue, “Inglourious Basterds” stands out from other Tarantino movies. A parallel history is depicted in the film, along with themes of justice, violence, and retaliation. “Inglourious Basterds” is one of the most captivating and talked-about movies of the recent past because of its blend of drama, suspense, and dark comedy.

“Manipulation”

A thriller called “Manipulation” (Two for the Money), which debuted in 2005, explores the world of sports betting and the abilities of expert analysts to forecast sporting event outcomes. The film is around two prominent actors, Al Pacino and Matthew McConaughey, as they attempt to thrive in this capricious industry while battling corruption, gambling, and personal problems.

The film centers on Brandon Lang (played by McConaughey), a former standout college soccer player whose career was ruined by injuries. He meets Walter Abrams (played by Pacino), a prosperous businessman and expert in sports betting, and he accepts his invitation to work for his company. Brandon learns all the nuances of the field from Walter, and before long, the young guy is a proficient analyst who makes accurate predictions about the outcomes of athletic events.

But as time goes on, Brandon starts to see that sports betting is more complicated than he initially believed. He discovers that this difficult game includes corruption, gambling, and manipulation. Brandon is forced to decide how far he is ready to go in order to succeed when it comes to the edge.

“Manipulation” is a compelling thriller about the world of sports betting, but it also paints a complex psychological picture of the key people, their hopes, and their anxieties. Significant issues regarding the cost of ambition, accomplishment, and human integrity are brought up in the film.

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The 92-minute documentary begins with Ravish Kumar entering an abandoned floor whose walls and ceiling are being dismantled. Holding a flashlight in his hand, he walks across the room, carefully examining the withered pieces while standing in silence. It is only at the end of the film that the viewer realizes that the abandoned place was an entire floor of NDTV’s workspace, which has now closed down as more and more people leave. The grim reality becomes even grimmer when the results of the 2019 general assembly elections emerge, where the country’s extreme right-wing party returned to power with an overwhelming majority.

Since he began working as a reporter for NDTV nearly three decades ago, Kumar has been the recipient of countless journalism awards. For most of his life, even after he was promoted to senior executive editor, Kumar’s personal life was kept quite far from the public eye. Shukla’s approach to these aspects seems sensitive as we watch tender moments of Kumar with his wife and young daughter. Around his workspace, the camera gently follows Kumar’s point of view. The sensuality here is similar to a tumultuous news drama, but never without nuance, which speaks to the daunting task of finding the truth in the post-truth era. It is in this vein that Shukla humanizes the process of journalism itself.

For the most part, the film is shot with a surprising restraint that makes the viewer feel more passive. This very passivity is even reinforced by a deep seething paranoia of being ahead of the events that the documentary chronicles; after 2016, there was a general rise in the number of populist leaders around the world, as well as the spread of xenophobia. Ultimately, the wave of disinformation contributed to the destruction of social fabric around the world.

But what makes Shukla’s documentary great is that it never becomes overly didactic, placing its antagonist in the foreground. The main focus remains on Kumar, and it is his insistence on the normalization of authoritarianism that forms the heartbeat of the story.

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Kapadia’s film was made during her time at the Film and Television Institute of India (FTII), and it is extremely interested in reflecting on the role that third-tier institutions can play in times of great social upheaval. Among DP/editor Ranabir Das’s beautifully shadowy images, often dark to the point of abstraction, are occasional shots of FTII dormitories, corridors and open spaces where student activists gather. And somewhere in one of the rooms, we are told, a cache of letters was discovered detailing a love affair that was thwarted because of caste. Thus, the voice of “L,” the author of the letters, is mixed with that of a narrator who may or may not be Kapadia herself to present an intimate, retrospective impression of the problems caused by the rise of India’s Hindu nationalist Prime Minister, Narendra Modi, and the resistance movement, in which universities played a key role, that emerged to oppose him. In every sense but the peer-reviewed one, A Night of Knowing Nothing is a student film.

There is a disconnect between the giddy mood and the poignant, still raw events in question, and this gives the film a special power. The sound design by Moynac Bose and Romain Ozanne played a special role in creating this strange dislocation: often shots of the crowd singing loudly will be played in an eerie silence, only briefly broken by a small synchronized atmosphere preserved in the mix. This makes the footage of passionate speeches and dramatic protest marches seem distant and fragile; the sparing use of brooding, unrecognizable electronic instrumentation also contributes to this floating feeling, as the events of 2015 and after the game seem to be ancient, or perhaps not rooted in time at all, eternal.

The real facts behind the scenes are often shocking. News clips create a parallel between the rise of Trump and the resurgence of fundamentalist nationalism in India. The narrator reflects on the significance of the infamous lynching of a dairy farmer by Hindu extremists (the so-called “cow vigilantes”) and the gang rape and murder of an 8-year-old Muslim girl in 2018. She is haunted by her memories of the day Rohit Vemula, a PhD student at the Central University of Hyderabad who came from the Dalit minority (formerly “untouchables”), committed suicide due to institutional victimization and exclusion.

With so much on my mind and so many different fragments-Super 8 home movies, archival footage, newspaper headlines, short abstract flashes of color-one might argue whether the framing device is necessary for framing love letters or just another complicating factor. But it does provide a scattered collection of moments and reflections with a very loose structure, as L’s messages to her lover change tone. The language, at first full of longing and youthful fervor, becomes harsher and colder as disillusionment sets in, ending in mutual accusations: “Maybe you were never as brave as I thought you were.” Perhaps this is meant to reflect the process of political awakening that students of Kapadia’s generation experienced. The initial exhilaration of solidarity and righteous activism gives way to a gradual realization that the status quo will not change so quickly, which in turn gives way to a weary understanding that often years of fighting for freedom of speech and freedom from oppression will lead to neither. Only the struggle continues.

There is a certain melancholy in this observation, perhaps even a certain despair, which is reinforced by the strange nostalgic atmosphere that Capadia evokes. But there is a glimmer of hope in her obvious cinephilia (at one intriguing moment she stops to wonder what Pasolini would have said about her encounter with a policeman on the march). In pictures as soft as the fabric of worn clothes, in a voiceover as quiet as dusk, the pure sensual pleasures of filmmaking become a kind of motivation, reminding us that cinema is not only a useful tool in the fight against injustice and tyranny. When there are films as interesting, expressive and intimate as The Night of the Unknowable, this is also what we fight for.

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At the center of Writing with Fire is Meera, Khabar Lahariya’s chief reporter, who not only follows and reports on stories, but also oversees the paper’s transition to digital, and mentors young journalists (many of whom have no journalism experience). . Mira was married at 14, but her in-laws allowed her to continue her education. Now she has a master’s degree and is a working mother with a husband who still thinks (and hopes?) that Khabar Lagaria will fail. He is quite easy to talk to, but he is ashamed that his wife is out all night, that she works at all.

Journalism is a mostly male profession, and an upper-caste profession at that, so these women had (and still have) a very difficult path. Every time they enter a space, be it a village, a mine or a government building, they are surrounded by men. Some of the stories they cover are extremely sensitive. They literally risk their lives. Since 2014, more than 50 journalists have been killed in India, making India – along with Iraq, Mexico, the Philippines and Pakistan – one of the most dangerous places on the planet for journalists. This is even more true for women, and the Dalit reporter is unheard of. The men they interview often don’t know how to handle questioning little women holding cell phones, women who are not intimidated by condescension or hostility.

Thomas and Gosch’s approach is personal and intimate. There is no distance from the subject matter and the film follows the newspaper journalists as they cover various stories (a dangerous mine run by a “mining mafia”, an epidemic of rape of Dalit women, Dalit villages without sanitation, and bigger stories like important local elections with national implications). When the women talk to the camera, there is a sense of familiarity and openness that shows how deeply the filmmakers have entered the lives of their subjects. External pressure influences the work of women, and vice versa. Mira is not as much as she would like to be for her children. One is falling behind at school. Sunita is unmarried and wants to stay that way, although her parents feel pressure to do so.

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“The Reason (Vivek), which premiered in Toronto and was awarded in Amsterdam, does not aim to gain an ardent following. On the contrary, it also has every chance of resonating. Through the pre-tested structure of the film, divided into chapters, Patwardhan, a secular rationalist, once again raises topics that provoke heated debate and social unrest (read: communal violence leading to aggression and bloodshed) in India. In doing so, he reveals the grim face of the world’s largest democracy.

Over the course of his 240-minute documentary, the filmmaker wastes no time in establishing the broader context, presenting evidence, talking to witnesses and participants in the incidents and people representing both sides of the debate, compiling what political scientist and Indologist Veronika Rokicka correctly calls an indictment. And the role of the accused falls on the Indian government, as Patwardhan blames the ruling right-wing Bharatiya Janata Party (Indian People’s Party) for the alarming wave of violence, which has promoted narratives that have allowed fringe ideologies to penetrate the mainstream since 2014, when the party gained control of a majority in parliament.

The filmmaker takes his time, without shouting accusations, and builds his arguments with feverish precision. Whenever we hear his voiceover, it undoubtedly belongs to a bright, careful speaker who not only asks probing questions but also encourages the audience to ask their own. However, the moments when he allows himself to speak are rare. Patwardhan provides only the brief commentary necessary to fit in all the pieces of a puzzle or to start a new train of thought. He follows people, archival news, participates in events, posing as a witness and a prosecutor at the same time.

We know the context from the media. Prime Minister Narendra Modi and his ministers condemn all acts of violence; although many commentators criticize the government for not taking a firmer stance against them and for not ensuring adequate measures to combat them. Too often, the sympathies of rulers drift toward marginalized groups, and disturbing connections are exposed. Contrary to the nation’s concept of “unity in diversity,” which emphasizes the country’s multicultural, multiethnic and multireligious heritage, the BJP’s nationalist view proposes a monolith. A state of one religion (Hinduism, ubiquitous in public life), one language (increasing dominance of Hindi, hence marginalization of Dravidians) and one Sanskrit (without hinting at Aryan) cultural heritage. The commitment to the true tradition is also reflected in the proper attire. Thus, Modi’s opponents mock that a suit really does make a true patriot. In this narrative, not only the British colonizers are the invaders and oppressors, but also the Mughals or rulers who founded the Delhi Sultanate many centuries ago. So, monuments like the Taj Mahal became a thorn in the radicals’ side. The names of cities, stations and streets are being changed to eradicate Muslim heritage.

Patwardhan is alarmed that extreme right-wing patriotism is taking on a blatant form as various attempts to rewrite history are made. For example, the 17th century Maratha king Shivaji, who fought the Mughals, is glorified for imposing Hindu traditions, but the fact that he had Muslims as close associates and officers and was by no means anti-Muslim or anti-Islamic is omitted. The grandiose plans to build a statue of Shivaji over 200 meters high to “make the nation proud” look bitterly comical.

In a similar attempt to change history, V. D. Savarkar, a Hindutva ideologue and dubious hero who opposes inclusive values, has become a towering nationalist icon. (For the curious, a small example of the “icon’s” view of caste: all the caste system has done is regulate its noble blood according to the principles in which our saintly and patriotic legislators and kings believe-and rightly so-our saintly and patriotic legislators and kings have contributed most to the fertilization and enrichment of all that is barren and poor, without starving or degrading all that is prosperous and nobly endowed.)

We won’t see it in the documentary, but let me remind you for the record that the infamous local politician who offered a reward for the beheading of actress Deepika Padukone as well as director Sanjay Leela Bhansali for allegedly defaming the legendary queen in the yet-to-be-filmed Padmavaat was a BJP member.

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