Bollywood Dream – O Sonho Bollywoodiano

Selected for competition for the 33rd Mostra Internacional de Cinema em Sao Paulo and the 2010 Pusan International Film Festival.

Synopsis: Luna, Ana and Sofia, are three actress friends who decide to go to India after receiving an invitation from a Bollywood film producer they meet at a film festival in Brazil. They leave their families, children and lives in Brazil to follow this opportunity, but once they arrive in India, they discover that the producer is a farce, who sent them to Chennai in southern India and learn that Bollywood is in Mumbai, on the other side of the country. Without loosing their sense of humor they start playing Brazilian music at a piano bar, working in a community health center and prepare for an audition in Mumbai by taking Bollywood dance lessons from a young boy they hire and traditional Indian acting with a old Indian actress. Little by little, the people they meet and the places they are living in bring to their lives the presence of their mythology with newer questions about their existences, common on that ancestral culture. While trying to get to Mumbai, they take the wrong train and end up in Varanasi. In the holy city by the riverbanks of the Ganges, they witness death being seen as liberation and life being celebrated by small everyday rituals. When they finally arrive in Mumbai for the big audition, their dreams have entirely changed, their lives transformed and the wish to make the audition disappeared. In the midst of Holi, the festival of life and colors, they dance for the last time together before getting separated to go after new dreams, as they get colored by the festival’s vibrant powder colors flung into the air. [website]

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Actress, filmmaker and writer, BEATRIZ SEIGNER is the director of the short films “Uma menina como outras Mil” and “Roda Real” (Sao Paulo’s International Short Film festival 2001 and 2004) and “Indias”, about the traditions that are disappearing in India, and writer of the documentaries “Refugee Diaries” and “On the Griot Trail”, about endangered languages and storytelling traditions in Africa and Brazil. As an actress she was in “The Seekers”, directed by Frank Megna and in the new film by the acclaimed Brazilian director Walter Salles’s and Daniela Thomas, “Linha de Passe”.

Cast: Paula Braun, Lorena Lobato and Nataly Galleazzo Cabanas
Director: Beatriz Seigner
Screenplay: Beatriz Seigner
Producers: Ram Devineni and Beatriz Seigner
Executive Producer: Santosh Sivan & Amir Naderi
Time: 90 Minutes / Color
Brazil and India. Portuguese, English and Tamil (English subtitles)
Status: National release in Brazil, April 28, 2011.
Festivals: Sao Paulo International Film Festival, Pusan International Film Festival, Amerasia Film Festival, Dialogue of Cultures International Film Festival, San Diego Latino Film Festival, Reel Brazil Film Festival (New Zealand), and others.

VARIETY: Bollywood Dream Review

A road comedy about a trio of Brazilian actresses on a hare-brained mission to work in Indian musicals, “Bollywood Dream” is slow to start, then comes home strong when the distaff dancers get their groove on. A respectable debut by helmer Beatriz Seigner, this crowd-pleaser should dance its way to plenty of fests, but rough technical edges will likely restrict exposure outside Brazil and India to the smallscreen. Brazilian release is set for February 2011.(By RICHARD KUIPERS)

Thirtysomething gal-pals Sofia (Nataly Cabanas), Luna (Lorena Lobato) and Ana (Paula Braun) arrive in India, only to discover their hotel reservations have vanished, along with a Bollywood producer they’re supposed to contact. More like a downbeat travel docu at first, pic shifts into a much more appealing and lively gear when the ladies find low-rent lodgings with kindly innkeeper Mr. Kumar (Paraneshwa Naiar), and cheeky teenage choreographer Kalya (Kaushik Satish, terrific) starts whipping them into shape. Though handheld camerawork is sometimes very shaky and images are occasionally overexposed, pic is well served by spirited perfs and a terrific soundtrack mixing peppy Bollywood tunes with classical rhythms of sitar, sarod and tabla.

ESTADAO: Sonho bollywoodiano de diretora do Brasil vai até as Índias

Beatriz Seigner apresenta Bollywood Dream, feito com só US$ 20 mil; defeitos do longa viram as maiores virtudes. (Luiz Carlos Merten, de O Estado de S. Paulo)

“Beatriz might have done the best film made in the West about India with only 20 thousand dollars. The superficial and esquematic becomes steps for something deeper – the ephemeral in face of a millenar culture. We can compare Bollywood Dream with El Mariachi, made by Robert Rodriquez with even less money. To like or not to like it is what’s matter the least. The small observations in between the lines are its strength.”

Todos os caminhos levam à Índia. Hollywood consagrou Danny Boyle e sua incursão pelo universo bollywoodiano com Quem Quer Ser Um Milionário? Glória Perez, com raro senso de oportunidade – mas isso ela sempre teve, lembrem-se de O Clone -, cravou um grande êxito na novela das 8, justamente com O Caminho das Índias. Por que criticar a jovem Beatriz Seigner? Se ela tinha um sonho bollywoodiano, é evidente que conseguiu concretizá-lo. Bollywood Dream – O Sonho Bollywoodiano teve no sábado sua primeira sessão na 33ª Mostra. O filme terá novas exibições hoje e quarta-feira. Beatriz pode ter realizado o melhor filme feito no Ocidente sobre a Índia, por apenas US$ 20 mil.

Foi o custo da produção, incluindo o mais difícil – a ida para o Oriente da diretora e de suas três atrizes, Paula Braun, Lorena Lobato e Nataly Cabanas. Num breve encontro com o público, após a projeção – 15 minutos de pergunta e resposta -, Beatriz contou que foi à Índia há seis anos. O país e sua cultura a fascinaram e ela encontrou um produtor (Ram Prasada Devineni) que resolveu bancar seu sonho. Três atrizes brasileiras partem para a Índia na tentativa de fazer carreira em Bollywood. É o lugar do mundo em que mais se produzem filmes, mais do que nos EUA. Elas chegam na cara e na coragem, seguindo o vago convite que um produtor indiano fez a uma integrante do grupo.

Como Beatriz contou, ela tinha um roteiro básico – que foi construído em cima das atrizes, que são suas amigas. Uma delas tem um filho. Há um background dramático, ela deixou o filho no Brasil e, pelo telefone, tem uma discussão com alguém – o pai, o ex-marido? – que a acusa de haver abandonado a criança. Havia, portanto, esse roteiro, mas o filme é resultado principalmente da improvisação e do que Beatriz e suas atrizes iam descobrindo na – e sobre a – Índia. O espectador que descobre agora a existência deste filme e fica curioso pelo resultado precisa ser avisado de que não vai encontrar nada tão profundo – nem visualmente suntuoso – quanto a aventura indiana de Sir David Lean, Passagem para a Índia. Mas Beatriz Seigner, na sua modéstia, também faz uma (pequena) passagem para a Índia.

As melhores cenas de seu filme parecem intuições. Logo de cara, quando as três garotas passam pela imigração, ainda no aeroporto, o oficial que, do País conhece somente a Aquarela do Brasil, acolhe o trio simpaticamente e até ensaia cantar a música famosa de Ari Barroso. O clima é de festa, mas ele pergunta a Paula Braun, atriz de O Cheiro do Ralo, o que ela está fazendo na Índia.Ela pede à amiga que fala inglês que traduza – diz que é atriz, está desempregada, tem um filho para criar e, no fundo, espera resolver sua vida e fazer carreira no cinema. A amiga, esperta, sabe que essas coisas não se dizem a um oficial de imigração. E ela resume o discurso numa sentença mais fácil – elas estão ali fazendo uma viagem, uma peregrinação espiritual.

O público ri, mas é exatamente o que o Beatriz e seu filme estão propondo, ou realizando. Quando uma das garotas filma um rito secular – o lançamento do deus Ganesha no rio-mar -, o indiano anônimo pergunta por que ela faz aquilo. O quê? Filmar. Para eternizar o momento, diz a garota . Mas o rito já é eterno, ele retruca. O filme é cheio desses pequenos momentos. Paula Braun diz que a filmagem foi um permanente exercício de cara de pau, forçando as pessoas – os indianos – a interagirem com a equipe. A lição de interpretação é outro momento exemplar. A atriz ensina a chorar provocando uma lágrima com a maquiagem. Mas a força e intensidade do olhar – “cinema é a melodia do olhar”, dizia Nicholas Ray -, essa é outra aula, mais complicada, que fica para amanhã. O esquemático e o superficial viram degraus para algo mais profundo – o efêmero face a uma cultura milenar. Pode-se comparar Bollywood Dream com El Mariachi, que Robert Rodriguez fez com menos dinheiro ainda (US$ 7 mil). Gostar ou não gostar é o de menos. As pequenas observações nas entrelinhas são o forte.

TIMES OF INDIA: Latinas love Chennai!

As the Brazilian heroines practice their steps, director Beatriz Seigner is busy capturing their moves even as she teaches them to improvise.

The young Brazil filmmaker is in the city to shoot a film titled The Bollywood Dream, which will also be extensively shot at places like Pondicherry, Varanasi, Mumbai and Ladakh. “Chennai is such a beautiful city. Here, we still see kolams out on the street,” she explains, “It’s such a perfect marriage of tradition and modernity.”

These were the primary reasons that the filmmaker chose the city to shoot parts of her film, which deals with the experiences of three young Brazilian women in a country they have always wished to explore. The Bollywood Dream tells the story of three women who are stuck in their lives in their home country and wander to India to explore.

“This is my first film and I’m already shooting abroad,” quips an excited Nataly Cabanas, who is an aspiring filmmaker in the film. “My character requires me to be an excited girl just out of high school and I fit the bill perfectly.” The other lead actors in the film are Lobato Lorena, who plays a girl who communicates through music, and Paula Braun, who has a vital role as well.

Which Indian filmmaker do they admire the most? “Santosh Sivan,” says Beatriz immediately, “I still remember the day I watched The Terrorist. It was my birthday and my friends dragged me out of the screening and so, I missed the climax. Many years later, when the film was screened at a film festival in Brazil, I watched the climax. I loved that film.”

Beatriz wishes that her country were more like Chennai. “We’re not keeping track of our traditions,” she explains, “We seem to be blindly going the American way. Instead, Brazil should look at India and we should take the good things from each other. There is so much in common between the two countries. For instance, I feel at home here — the people, the smells… they are so much like my hometown.”

Five weeks of continuous shooting in the city and its outskirts have left them with almost no time to rest and chill out. “When we found time, we just wandered into the city,” they say in unison. Viva La Brazil!

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On the Road

What happens when a downtown New York poet of the hip hop and slam persuasion discovers that the roots of spoken word go back thousands of years and span the globe? If he’s Bob Holman, he goes On the Road to track them down! He trades stories, fun, recipes, insights, jokes, songs, and poems. Along the way, he gets passionately immersed in the Endangered Language crisis — over half the world’s 6500 languages will disappear before the end of this century. Holman guides us to the bottom-line question of survival of these systems of consciousness with respect, joy, and dedication to diversity. He throws himself into the life – shares the meals, participates in the ceremonies, dances and parties. His enthusiasm infects the series’ fast-paced style – Hip, but not hipper than thou. Serious fun! Ok everybody, get ready — let’s take the road not taken, with Bob Holman. The show aired on LinkTV which is available on local cable channels, online, and on DirectTV channel 375 and Dish Network channel 9410.

WORLDWIDE DISTRIBUTION:
BIG MEDIA, 333 Seventh Avenue, 10th Floor, New York, NY 10001, USA.
tel.: +1-646-205-0003 / fax: +1-646-205-4307 / Website: http://bigmedia.tv

EPISODE 1: THE GRIOTS OF WEST AFRICA.

30 minutes. RELEASE DATE: February 1, 2012 on LINK TV.

A griot (gree-oh) is the keeper of the West African oral tradition and the tribe’s genealogy through poetic songs. Bob is invited to Gambia by his long-time friend and teacher, Papa Susso, to learn more about this musical art and see how the kora, the 21-string harp-lute is made. Bob travels up the Niger River with Papa’s son, Karamo, also a griot, in search of the spirit of the African-American Beat poet, Ted Joans, who lived a buoyant life in Timbuktu in the 70s and was Bob’s mentor. Along the way, Bob discovers the roots of hip-hop, rap, the blues — all the great American musical traditions that originated in Africa. The episode concludes with a kora-guitar jam session between Karamo and Ali Farka Toure’s son, Vieux.

EPISODE 2: TIMBUKTU TO THE DOGONS.

30 minutes. RELEASE DATE: February 8, 2012 on LINK TV.

The show continues in Timbuktu where Bob gets more insight into the dusty off-station in the middle of nowhere. Bob goes to the Timbuktu Library, with volumes from the 16th Century when the city was the center of African learning. We ourselves learn how to ride a camel and how Timbuktu got its name before we venture into the Sahara and spend an afternoon listening to the hypnotic music of the Tuaregs, the nomadic “blue people,” named because their indigo-dyed clothing rubs off on their skin. Then we head south to visit the Dogons, renowned for the interplay of their culture of masks with daily life and rituals. Bob tries to get a mask ceremony to happen: he buys millet beer for the town, and we see how it is brewed. Then he has his fortune read via iconic marks in the sand that are left overnight for the pale fox to wander through and change their meanings, one of many Dogon traditions first written about by Marcel Griaule. When the village erupts into a mask ceremony, the Dogon dancing, music and masks evoke a complete cosmology of extraordinary beauty, utterly fascinating and unique.

EPISODE 3: ISRAEL AND THE WEST BANK.

30 minutes. RELEASE DATE: February 15, 2012 on LINK TV.

“In the Beginning was the Word,” starts this episode — but what language was it? Yiddish, which once had five daily newspapers in New York City, is now an Endangered Language. From the director of the Sholem-Aleichem House and the Yiddish storyteller, Sarat, we learn about the decline of Yiddish resulting from the rise of Hebrew as the national language of Israel. Sarat cooks us a delicious cholent, a stew combining many of the ingredients from the old countries. While in Jerusalem, we experience the musical sounds of Ladino, the Spanish Hebrew of the Sephardic Jews, which is also endangered. The poet Ronny Someck, a “true Israeli poet from Iraq,” gives Bob a tour of Jaffa and tells us about the multilingual diversity that used to exist in Israel. He suggests visiting the West Bank to hear Arabic, so Bob takes the grueling journey through the endless checkpoints and the Separation Wall to reach Ramallah. Once across the Wall we meet with some young Palestinian hip-hop poets who explain the complexities of living near the Separation Wall that dominates the landscape. In the end, Bob is left to ponder how the resurrection of Hebrew into the national language has created barriers between the many different voices and languages of the region and how the monoglot of Hebrew in a polyglot land may have effected Israel’s political thinking.

POSTCARDS FROM KATHMANDU

(11 minutes, HD NTSC)

Spoken-word poet BOB HOLMAN is on a search to record a Newari poet for the endangered languages cento, which will be presented at the United Nations in New York City. Pressed for time, he travels to Kathmandu and experiences the diverse languages and peoples of the mountainous country. In the midst of a national strike that shutdowns Kathmandu, he finds a young poet who reads a poem about her grandfather. Bob returns to New York City and jubilantly presents the cento at the UN’s Permanent Forum on Indigenous Issues. Available online at LINKTV.org

DVD: On the Road with Bob Holman featuring all three episodes.

RESOURCES:
Download the curriculum (pdf) for the show. Read the press release. (pdf)

Read the interview with Bob Holman in BOMB magazine. Read the article “YOU CAN’T PUT A LANGUAGE IN A ZOO: Bob Holman and Endangered Languages” in the Brooklyn Rail.

BOB HOLMAN is the founder of The Endangered Languages Poetry Project and the host of this documentary series.  He has been called a member of the “Poetry Pantheon” by the New York Times Magazine, and “Ringmaster of the Spoken Word” by New York Daily News and is the founder of the Bowery Poetry Club. He won three Emmys for WNYC-TV’s Poetry Spots, received a Bessie Performance Award, and an International Public Television Awards for the PBS series The United States of Poetry. He teaches at NYU and Columbia, including “Poets Census,” where students locate poets from non-English speaking communities, and “Translating Endangered Languages.” He is currently working on “Listen UP! Endangered languages with Bob Holman,” a PBS documentary with Holman as host and David Grubin (The Buddha, The Brain, Bill Moyers) as Producer. In 2010, with linguists Daniel Kaufman and Juliette Blevins, he founded the Endangered Language Alliance in New York.

CREDITS:
Producers: Ram Devineni & Beatriz Seigner. Avi Dabach (Israel)
Editor: Ram Devineni
Camera: Beatriz Seigner, Lamont B. Steptoe & Avi Dabach
Host: Bob Holman
Produced by Rattapallax in association with Bowery Arts and Science
Executive Producer: Steven Lawrence
Re-recording Mixer: Tom Paul
Audio Post Production: Gigantic Post
Sound Editor: Michael Feuser
Assistant Sound Editor: Perry Levy
Africa Episodes Music: Papa & Karamo Susso
Title Sequence: Cathy Cook
Title Music: Peter Gordon
Additional Editing: Renata Maria
Color Grading: David Barkan
Mahmoud Darwish’s poem translated by Samuel J. Liebhaber
Nepal episode was produced in association with the International Writing Program at the University of Iowa. The video and the tour was made possible by a grant from the Bureau of Educational and Cultural Affairs at the U.S. Department of State.

Special thanks to Stephanie Nikolopoulos, Alison Heller, Avi Dabach, Ariane Lopez-Huici, Alexander Batkin, Jackie Sheeler, Alain Kirili, David Wojciechowski, Papa Susso Compound, Toumani Diabati, Sandra Paugam, Sekou Dolo, MC Paul Barman, Breyten Breytenbach, Dagui Dolo, Laura Corsiglia, Banning Eyre, Oumou Sangare, Jayne Cortez, Sana Sibily, Balike Sissoko Compund, Natasa Durovicova, Christopher Merrill, American Embassy in Kathmandu, Kelly Bedeian, David Broza, Itay Meirson, Nadav, Hana Amichai, Claire Montgomery & Bill Goldston.

Ginsberg’s Karma

A documentary about the legendary poet Allen Ginsberg and his mythical journey to India in the early 1960s that transformed his perspective on life and his work. Ginsberg traveled to India with Peter Orlovsky, to escape the media pressure of being an icon of the “Beat Generation” and to recover from writer’s block after writing several of the most important poems of the 20th Century including “Howl.” He hoped to re-create the hallucinatory “William Blake” vision that inspired his earlier work and search for a new muse other than drugs. Poet Bob Holman traces the two years Ginsberg spent in India by visiting the places where he stayed and talk with the people he met and influenced, as well as, intimate interviews with Beat poets Gary Snyder, Joanne Kyger, Anne Waldman, John Giorno and others. The film is inspired by Ginsberg’s collection, “Indian Journals,” and Deborah Baker’s book, “A Blue Hand: The Beats in India.” By discovering Ginsberg’s experiences in India, Bob Holman traces how Ginsberg effected the counter-culture movement of the 1960s and Buddhism in America.

Edited, produced and directed by Ram Devineni.

Format: NTSC / HDV 1080i / Color
Time: 30 minutes
India and USA, English and Bengali (English subtitles)

Status: Jan 2010.

Vegas: Based on a True Story

Selected for competition for the 65th Venice Film Festival and Tribeca Film Festival

“… a timely, disturbing parable on the consequences of greed.” — Stephen Holden, New York Times

“a raw tragedy in the tradition… of Stroheim’s Greed.” — Nigel Andrews, The Financial Times

“Naderi reveals the consuming obsessiveness of addiction, as Eddie pursues the American dream of prospecting for gold in his own backyard. If you have ever shared that dream, that disease, Vegas could bore into your gut.” — Richard Corliss, Time

“Naderi’s stated goal, to wed his more experimental recent work to a strong narrative throughline, has been realized with a vengeance…. highly poetic… [the] characters’ driving obsessions traverse cinematic synapses on America’s psychological landscape.” — Ronnie Scheib, Variety

“The experimental does not preclude great formal achievement. The proof is Amir Naderi’s Vegas…” — Eugenio Renzi, Cahiers du Cinema

“Acclaimed director Amir Naderi applies his inimitable cinematic style to Vegas, a timely and complex fable about our current economic crisis. ” — Jason Guerrasio, Filmmaker Magazine

“A clever metaphor for and trenchant comment on our compulsive, irrational real-estate dreams.”– Steven Zeitchik, Hollywood Reporter, Risky Business Blog

“breakout star” — Eric Kohn, The Wrap

“a mesmerizing tale of greed gone bad” — Mickey Rapkin, GQ

“powerful, fablelike drama” — Bilge Ebiri, New York Magazine

“immensely more satisfying on both a visual and a philosophical level” — Andrew O’Hehir, Salon

“perfect for the age of the subprime mortgage crisis” — Robert Levin, Am NY

“a powerful story” — Katey Rich, Cinema Blend


Venice Film Festival
Rio de Janeiro International Film Festival
Pusan International Film Festival
Mar del Plata Film Festival
Tokyo FILMeX
Bratislava International Film Festival
Febio Film Festival
Tribeca Film Festival
CineVegas International Film Festival
Paris Cinéma
Vancouver International Film Festival
Warsaw Film Festival
Vienna International Film Festival

Synopsis: Eddie Parker, his wife Tracy and their 12-year-old son Mitch lead blue-collar lives on the outskirts of America’s pleasure capital, Las Vegas. A compulsive gambler, Eddie has never won big. Tending her small garden in the desert, Tracy tries to keep the fragile family life together. Then an elusive stranger shows up claiming there’s something special about their home and he makes an offer that quickly turns into the family’s obsession. The only question is how deep are they willing to go?

AMIR NADERI started his international career in Iran in the 1970s with award-winning films such as Waiting and Requiem. In the 80s, he helped focus international attention on Iranian cinema with acclaimed works such as The Runner and Water, Wind, Dust. Based in New York City since the late ‘80s, Naderi has since made his New York Trilogy: Manhattan by Numbers (1993), A, B, C… Manhattan (1997), and Marathon (2002). His U.S. films have premiered at the Film Society of Lincoln Center/MOMA’s New Films New Director’s series, the Venice, Cannes, Sundance and Tribeca Film Festivals. His last feature, Sound Barrier (2005), won the Roberto Rossellini Critics Prize at the Rome Film Festival. Vegas : Based on a True Story (2008) is his fifth American feature.

Director’s Statement: I wanted to combine my experimental and experiential styles of filmmaking with a more traditional narrative cinema. As with all my work, the experience of the lengthy and intense shoot, while living in the desert outside Vegas, was, for everyone involved, an important part of the development of the film; but keeping to the plot line was equally crucial.

I get asked about the ‘true story’ in the title. I don’t have to say it, but clearly the title is layered. Over the years, I’ve spent a lot of time in and around Las Vegas, on and off the strip, in its desert towns and motels, its peripheral casinos, photographing the changes, meeting all sorts of people, witnessing their lives, listening to stories about what they had seen and done. This film is based on one of these encounters. So the title also refers to another truth, a certain truth about Vegas.

The film is about money, obsession and the ideas of home and land. I wanted to reach back to an older cinema, especially American cinema, people who influenced me in my youth and remain close to me. Now, after the experience of this film, I think I’m ready to make the film I’ve been waiting years to make: a movie about the moon. Why not? ….cut.

Cast: Nancy La Scala as Tracy, Mark Greenfield as Eddie, and Zach Thomas as Mitch
Supporting Cast: Walt Turner as Brian, Alexis Hart as Stephanie, and Cathy Leach as Doris
Director: Amir Naderi
Screenplay: Amir Naderi, Susan Brennan, Bliss Esposito, Charlie Lake Keaton
Editor: Amir Naderi
Producers: Amir Naderi, Abou Farman
Director of photography: Chris Edwards
Production Manager: Brandon Kordic
Sound editor: Jamie Canobbio
Associate Producers: Ram Devineni, Nasser Ghaderi
Rattapallax Films assisted with productions funds.
Format: 102 MIN. USA. 2008.









Alphaville Films NYC
Presents
Vegas: Based on a True Story
a film by Amir Naderi


Domestic Sales Agent:
John Sloss
Cinetic Media
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International Sales Agent:
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Vegas: Based on a True Story is an Alphaville Films NYC production. The screenplay was developed thanks to the New York State Council for the Arts and Independent Television Service (ITVS) with funding provided by the Corporation for Public Broadcasting (CPB).


Filmed on location in Las Vegas and Pahrump, Nevada.