#Bhaskar Hazarika

[inmyworldblr]

Kothanodi (2015) | dir. Bhaskar Hazarika

[paandaan]

meat syllabus

are you sannata3159? by vandana singh

my year of meats by ruth ozeki

tongue by kyung-ran jo

aamis (ravening) by bhaskar hazarika

tender is the flesh by agustina bazterrica

it's one of those the more-i'm-in-motion-the-weirder-it-gets days and it's really blowing my mind by kim sagwa

i'm okay, i'm pig! by kim hye-soon

page 146 - 155 of linden hills by gloria naylor (full reading of the novel essential for context)

niku wo hagu by oto tooda

[assamnews]

Kankana Chakrabarty won the Best Actress Award at the NEFVTA Film Festival

Guwahati - In the NEFVTA Film Festival held in Guwahati, Kankana Chakrabarty emerged as the distinguished recipient of the Best Actress award. The Los Angeles-based Indian actor earned this coveted accolade for her spellbinding performances in the films 'The Rose Garden' and 'Malti.' Simultaneously, Sabyasachi Chakrabarty claimed the Best Actor title for his notable role in the film 'Cabbage.' The duo, having previously shared the screen in 'Written By' and 'Anurup,' both directed by Kankana Chakravarty, marked a standout presence at the awards ceremony.

Expressing profound gratitude, Kankana Chakrabarty stated, "I am genuinely overwhelmed and honoured by this award. My heartfelt thanks go out to my audiences and directors Nidheya Suresh and Mrunal Mestri for entrusting me with their characters."

Mrunal Mestri, Best Director, Malti

Among the array of additional winners were Akankhya Bhagawati (Best Film), Bhaskar Hazarika (Best Film), Mrunal Mestri (Best Director), Anirudh Baruah (Best Cinematography), Gourav Roy (Best Editing), Sapatrshi Das, Abhijit Gogoi, and Buildingstone Sangriang (Best Sound Engineer). Abhinav Meher clinched the Best Music award, while Rathindran was honoured with the coveted Jury Award.

[filmiduniyapk]

PLAYERS (2012) | Action Thriller film | 100 billion (US$1.5 billion)

Players is a Bollywood action and thriller movie directed by Abbas–Mustan. The main roles of this movie are done by Vinod Khanna, Abhishek Bachchan, and Bipasha Basu. The movie is initially released on 06 January 2012. Players is released in Hindi language from India to the world.

MOVIE INFO

A thief asks his mentor for help when a DVD clue from a dead friend tips him off to one of the largest heists of the century.

Cast

Abhishek Bachchan, Bipasha Basu, Sonam Kapoor, Neil Nitin Mukesh, Bobby Deol, Sikandar Kher, Omi Vaidya

Genre: Drama, Action, Mystery & thriller

Original Language: Hindi

Director: Abbas Alibhai Burmawalla

Writer: Bhaskar Hazarika, Rohit Jugraj, Sudip Sharma, Nikhat Bhatty

Release Date (Streaming): Jul 2, 2017

Runtime: 2h 47m

[gbwhtspro]

Class Web Series Review by Suchin | Film Companion

The ‘Class’ boasts some solid filmmaking talent. For one, It’s helmed by Ashim Ahluwalia – known for Ms. Lovely, and the underrated gangster biopic Daddy. The screenplay comes from Kersi Khambatta, writer of Being Cyrus and Finding Fanny, and Aami’s director Bhaskar Hazarika. The story is equally exciting. After their school burns down, three underprivileged students are given the opportunity to…

[lairreparablefugadeltiempo]

Aamis (Bhaskar Hazarika, 2019)

[natehoodreviews]

[Originally published on UnseenFilms]

It began with a goat, a young kid purchased, butchered, cooked, and eaten by a self-proclaimed “Meat Club” at a nearby university. Disgusted with the quality of processed meats, these students sought only the finest and freshest of fleshes upon which to feast. On this occasion, the club had a new member, a vegetarian named Sumon (Arghadeep Barua) who quickly found himself taken with the stuff, gorging himself to glutted indigestion. Niri (Lima Das), a nearby pediatrician, was summoned by his friends to help, and she walked away with a bizarre doctor’s fee—Sumon’s newfound curiosity for strange, exotic meats. Soon the two were meeting clandestinely while her husband was out of town, sampling freshly killed delicacies. First came wild rabbits captured in a tea garden. Then freshly caught fish. Then came bats, snakes, snails, and more, all the while growing more and more tired of the starches, fruits, and vegetables they’d known their whole lives. After finally exhausting their community’s supply of unusual beasties, they turned to the only taboo flesh left: each other. Care for a fried calf cutlet? Or how about duck eggs with minced garlic and thigh meat? Such are the depraved yet mouth-watering dishes populating Bhaskar Hazarika’s Aamis, a tonally confused mishmash of genres, emotions, and gore. “Aamis” is itself the word for “ravening” in the Assamese dialect from northeastern India in which the film is shot, and it’s a succinct summation of the film’s central theme, the gradual whittling away of sense and sanity in the service of satiating bestial instincts. For the first half of the film, the soft cinematography, breezy pacing, and gentle soundtrack of strings and piano leads us to believe we’re watching a romantic melodrama centering around food; think an Indian take on Chocolat (2000) or the gangster subplot from Tampopo (1985). But after a sequence at the middle where Sumon has a hallucinatory nightmare about Niri, the film jumps the rails straight into cannibalism, revealing the couple’s sharing of food was less innocent courtship ritual than covert indulging of perversions like the car crash fetishists in David Cronenberg’s Crash (1996). Alas, the film can’t commit to its subversity, keeping the sexual connotations at arm’s length, relegating Sumon and Nori’s passions to chaste, sexless eccentricity, retaining the airy beats of a romcom with none of the detachment that could make it ironically disturbing. Cannibalism shouldn’t be this bland.

[indiejones]

INDIES TOP 236 BOLLYWOOD MUSIC DIRECTORS OF ALL TIME !

1.       S.D.Burman

2.       R.D.Burman

3.       Shankar Jaikishan

4.       O.P.Nayyar

5.       Naushad

6.       Jaidev

7.       Vasant Desai

8.       C. Ramchandra

9.       Usha Khanna

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22.   Ravi

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24.   Anil Biswas

25.   Sardar Mailk

26.   Kalyanji Anandji

27.   Sudhir Phadke

28.   Kamal Dasgupta

29.   Pritam

30.   Sajjad Hussain

31.   Kishore Kumar

32.   Saraswati Devi

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34.   Rafique Ghaznavi

35.   Chitragupt

36.   Prem Dhawan

37.   Mushtaq Hussain

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40.   Kuldeep Singh

41.   Hansraj Behl

42.   Ghulam Mohammad

43.   Viju Shah

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76.   Jeet Gannguli

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78.   Ilayaraja

79.   M. A. Razi

80.   Ramchandra Pal

81.   Bhupen Hazarika

82.   Ankit Tiwari

83.   Anupam Roy

84.   A. Karim

85.   Khwaja Khurshid Anwar

86.   Arun Kumar Mukherjee

87.   Dattaram V. Gadkar

88.   Anand Milind

89.   Hridaynath Mangeshkar

90.   Amaal Malik

91.   Baldev Nayak

92.   Ravi Shankar

93.   Amit Trivedi

94.   Hafiz Khan

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96.   Master Vasant Mansoor

97.   M. A. Mukhtar

98.   D. C. Dutt

99.   Krishna Dayal

100.                        Shantanu Moitra

101.                        Anu Malik

102.                        A.R. Rahman

103.                        Badri Prasad  XXXXXXXXXX

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111.                        Pannalal Ghosh

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113.                        Vanraj Bhatia

114.                        Vishal Bhardwaj

115.                        Indravan Bhatt

116.                        Phirozeshah M Mistry- B. Irani

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126.                        Lal Muhammad - Paigankar

127.                        Master Krishnarao

128.                        Salim – Suleiman

129.                        Channalal Naik

130.                        Sachin Jigar

131.                        Ismail Darbar

132.                        Rasheed Attre

133.                        Mihir Bhattacherji

134.                        Timir Baran

135.                        Sandesh Shandilya

136.                        Arun Paudwal

137.                        Sanjay Leela Bhansali

138.                        Shanti Kumar Desai

139.                        Annasaheb Mainkar

140.                        Govindrao Tembe (1930s)

141.                        Pandit Amarnath

142.                        Zubeen Garg

143.                        Brijlal Verma  XXXXXXXXXX

144.                        Pransukh Nayak

145.                        Madhavlal Damodar Master

146.                        M.S. Viswanathan

147.                        Snehal Bhatkar

148.                        Karthik Raja

149.                        Sandeep Chowta

150.                        Gyan Prakash Ghosh

151.                        R.A.Atra

152.                        B.S. Hoogan

153.                        Raju Singh

154.                        Fateh Ali Khan

155.                        Habib Khan  XXXXXXXXXX

156.                        Premnath

157.                        Ashok Ghosh

158.                        Hari Prasanna Das

159.                        Vishwanathbuva Jadhav  XXXXXXXXXX

160.                        Master Mohammad

161.                        Tufail Faruqui

162.                        Shridhar Parsekar

163.                        Dinkar S. Bidkar - S.K. Qadri  XXXXXXXXXX

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[inmyworldblr]

Kothanodi (2015) | dir. Bhaskar Hazarika

[miguelmarias]

World Poll 2019

Great recent movies (made since 2014) seen for the first time in 2019

Mademoiselle de Joncquières (Emmanuel Mouret, 2018)

Dau Huduni Methai (Song of the Horned Owl, Manju Borah, 2015)

El Crack cero (José Luis Garci, 2019)

Jiang hu er nv (Ash is Purest White, Jia Zhang-ke, 2018)

Carré 35 (Plot 35, Éric Caravaca, 2017)

Sic transit Gloria Mundi (Gloria Mundi, Robert Guédiguian, 2019)

If Beale Street Could Talk (Barry Jenkins, 2018)

Ad Astra (James Gray, 2019)

Le Chant du loup (The Wolf’s Call, Antonin Braudy, 2019)

Shooting the Mafia (Kim Longinotto, 2019)

Village Rockstars (Rima Das, 2017)

Tantas Almas (Valley of Souls, Nicolás Rincón Gille, 2019)

Un peuple et son roi (Pierre Schoeller, 2018)

Aamis (Ravening, Bhaskar Hazarika, 2018/9)

Fishbone (Adán Aliaga, 2018)

O que arde (Fire Will Come, Oliver Laxe, 2019)

La Fin de la nuit (Lucas Belvaux, 2015)

Ramen Teh (Ramen Shop, Eric Khoo, 2018)

Light of My Life (Casey Affleck, 2019)

Great movies (made before 2014) seen for the first time in 2019

’49-’17 (Ruth Ann Baldwin, 1917)

Ba shan ye yu (Evening Rain / Night Rain of Mount Ba, Wu Yigong and Wu Yonggang, 1980)

The Spirit of the Flag (Allan Dwan, 1913)

Versailles (Pierre Schoeller, 2008)

Ùn pienghjite mica (Les Anonymes, Pierre Schoeller, 2012/3)

Foxfire (Joseph Pevney, 1954/5)

Johnny Come Lately (William K. Howard, 1943)

I girovaghi (Hugo Fregonese, 1956)

Nunal sa Tubig (Speck in the Water, Ishmael Bernal, 1976)

Ikaw ay Kin (You Are Mine, Ishmael Bernal, 1978)

Pervyí eshielon (The First Convoy, Mikhail Kalatozov, 1955/6)

The Sea Wolf (Alfred Santell, 1930)

Surrender (William K. Howard, 1931)

The Restless Years (Helmut Käutner, 1958)

Darling, How Could You! (Mitchell Leisen, 1951)

Ko:Yad (A Silent Way, Manju Borah, 2012)

The Flame (John H. Auer, 1947)

Ernst Thälmann-Sohn seiner Klasse (Kurt Maetzig, 1954)

Ernst Thälmann-Führer seiner Klasse (Kurt Maetzig, 1955)

Bólshaia Sémia (A Big Family, Iosif Kheífits, 1954)

Circuit Carole (Emmanuelle Cuau, 1995)

Harvey (Henry Koster, 1950)

As It Is in Life (D.W. Griffith, 1910)

Abroad with Two Yanks (Allan Dwan, 1944)

Behind Office Doors (Melville W. Brown, 1931)

Lovin’ The Ladies (Melville W. Brown, 1930)

La Tarea o cómo la pornografía salvó del tedio y mejoró la economía de la familia Partida (Homework, Jaime Humberto Hermosillo, 1990/1)

A Modern Hero (G.W. Pabst, 1934)

Surrender (William K. Howard, 1931)

Jubilee Trail (Joseph Inman Kane, 1954)

Matinée (Jaime Humberto Hermosillo, 1976/7)

Linda (Mrs. Wallace Reid = Dorothy Davenport, 1928/9)

Die missbrauchten Lebesbriefe (Leopold Lindtberg, 1940)

Very good movies (made since 2014) seen for the first time in 2019

Photograph (Ritesh Batra, 2019)

The Mule (Clint Eastwood, 2018)

The Man Who Killed Hitler and Then The Bigfoot (Robert D. Krzykowski, 2018)

Frères ennemis (Close Enemies, David Oelhoffen, 2018)

L’Homme fidèle (A Faithful Man, Louis Garrel, 2018)

Pris de court (Not on My Watch, Emmanuelle Cuau, 2016)

Dolor y Gloria (Pain and Glory, Pedro Almodóvar, 2019)

Frost (Šerkšnas, Sharunas Bartas, 2017)

Vitalina Varela (Pedro Costa, 2019)

Da xiang xi di er zuo (An Elephant Sitting Still, Hu Bo, 2018)

Di qiu zui hou de ye wan (Long Day’s Journey Into Night, Bi Gan, 2018)

La Tenerezza (Tenderness, Gianni Amelio, 2017)

Fourteen (Dan Sallitt, 2019)

Bulbul Can Sing (Rima Das, 2018)

A Rainy Day in New York (Woody Allen, 2019)

Legado en los huesos (Fernando González Molina, 2019)

Ma vie dans l’Allemagne d’Hitler (My Life in Hitler’s Germany, Jérôme Prieur, 2018)

La Vie balagan de Marceline Loridan-Ivens (Yves Jeuland, 2018)

Gangbyeon Hotel (Hotel by the River, Hong Sang-soo, 2018)

The Wind (Emma Tammi, 2018)

Kothanodi (The River of Fables, Bhaskar Hazarika, 2015)

Dar Jostojoy-e Farideh (Finding Farideh, Azadeh Moussavi & Kourosh Ataee, 2018)

Sir (Rohena Gera, 2018)

El Proyeccionista (The Projectionist, José María Cabral, 2019)

Intemperie (Benito Zambrano, 2019)

Madre (Mother, Rodrigo Sorogoyen, 2017, short)

Three Identical Strangers (Tim Wardle, 2018)

Madre (Rodrigo Sorogoyen, 2019)

Very good movies (made before 2014) seen for the first time in 2019

A Life for a Kiss (Allan Dwan, 1912)

Futari de aruita iku haru aki (The Days We Spent Together, Kinoshita Keisukē, 1962)

The Necklace (D.W. Griffith, 1909)

Das Schiff der verlorenen Menschen (Ship of Lost Men, Maurice Tourneur, 1929)

The Broken Locket (D.W. Griffith, 1909)

Primrose Hill (Mikhaël Hers, 2007)

The Rejected Woman (Albert Parker, 1924)

El último malón (Alcides Greca, 1917)

Bullets for O’Hara (William K. Howard, 1941)

Le Récit de Rebecca (Paul Vecchiali, 1964)

La noche avanza (Night Falls, Roberto Gavaldón, 1952)

Over-Exposed (Lewis B. Seiler, 1956)

I rollerna tre (Christina Olofson, 1996)

Il Viale della Speranza (Dino Risi, 1953)

Because of You (Joseph Pevney, 1952)

1870/…Correva l’anno di grazia 1870 (Alfredo Giannetti, 1972)

Demi-tarif (Isild Le Besco, 2003)

L’Exercice de l’État (The Minister, Pierre Schoeller, 2011)

Cheng nan jiu shi (My Memories of Old Beijing / Old Stories of the Southern Part of the City, Wu Yigong, 1983)

Strangler of the Swamp (Frank Wisbar, 1945/6)

Sword in the Desert (George Sherman, 1949)

There’s Always Tomorrow (Too Late For Love;Edward Sloman, 1934)

East Side, West Side (Allan Dwan, 1927)

Le Départ (Damien de Pierpont, 1998)

Face aux fantômes (Jean-Louis Comolli, 2009)

The Eagle and the Hawk (Mitchell Leisen, credited to Stuart Walker, 1933)

Whirlpool (Roy William Neill, 1934)

The Animal Kingdom (Edgard H. Griffith; uc. George Cukor, 1932)

Le Passager (The Passenger, Éric Caravaca, 2005)

Razumov (Sous les yeux d’Occident) (Marc Allégret, 1936)

Banjo On My Knee (John Cromwell, 1936)

One Night of Love (Victor Schertzinger, 1934)

Enchantment (Robert G. Vignola, 1921)

Charell (Mikhaël Hers, 2006)

Men With Wings (William A. Wellman, 1938)

Delitto per amore (L’edera) (Augusto Genina, 1950)

Les Amants de Minuit/Les Amours de Minuit (Augusto Genina, 1930/1)

Human Cargo (Allan Dwan, 1936)

Up the Ladder (Edward Sloman, 1925)

Luxury Liner (Richard B. Whorf, 1948)

Surrender! (Edward Sloman, 1927)

The Judge (Elmer Clifton, 1948/9)

Turbión (Antonio Momplet, 1938)

Der Ruf (Josef von Báky, 1949)

Faubourg Montmartre (Raymond Bernard, 1931)

Träumerei (Harald Braun, 1944)

The Red Lantern (Albert Capellani, 1919)

El Paseíllo (Ana Mariscal, 1968)

La quiniela (Ana Mariscal, 1960)

Great movies growing up or just rediscovered in 2019

Letter of Introduction (John M. Stahl, 1938)

Only Yesterday (John M. Stahl, 1933)

Our Wife (John M. Stahl, 1941)

Wohin und zurück (Axel Corti, 1982-6)

Giorno per giorno, disperatamente (Alfredo Gianetti, 1961)

Die wunderbare Lüge der Nina Petrowna (Hanns Schwarz, 1929)

Alyonka (Boris Barnet, 1961)

Craig’s Wife (Dorothy Arzner, 1936)

Imitation of Life/Fannie Hurst’s “Imitation of Life” (John M. Stahl, 1934)

Captains Courageous (Victor Fleming, 1937)

Test Pilot (Victor Fleming, 1938)

The Eternal Sea (John H. Auer, 1955)

Hello, Sister! (Anonymous: Erich von Stroheim, Alfred L. Werker, Raoul Walsh, Alan Crosland, 1933)

La noche de enfrente (Night Across the Street, Raúl Ruiz, 2012)

Journey into Light (Stuart R. Heisler, 1951)

Feel My Pulse (Gregory LaCava, 1928)

La signora senza camelie (The Lady Without Camelias, Michelangelo Antonioni, 1953)

Nosotros que fuimos tan felices (Antonio Drove, 1976)

Very good movies improved

Liana (Boris Barnet, 1955)

L’Avventura (Michelangelo Antonioni, 1960)

Du haut en bas (High and Low, G.W. Pabst, 1933)

Amok (Antonio Momplet, 1944)

The Man Who Never Was (Ronald Neame, 1956)

Open Range (Kevin Costner, 2003)

Con la vida hicieron fuego (Ana Mariscal, 1959)

Timberjack (Joe Kane, 1954/5)

En la Palma de tu Mano (Roberto Gavaldón, 1951)

Gravity (Alfonso Cuarón, 2013)

Expreso de Andalucía (Francisco Rovira-Beleta, 1956)

El Camino (Ana Mariscal, 1963)

La viuda del capitán Estrada (José Luis Cuerda, 1991)

Vestida de azul (Antonio Giménez-Rico, 1983)

Segundo López aventurero urbano (Ana Mariscal, 1953)

Hell’s Outpost (Joe Kane, 1954)

Fuente: http://sensesofcinema.com/2020/world-poll/world-poll-2019-part-5/#4

[highonfilms]

Bhaskar Hazarika's Aamis highlights love’s tremendous potential to do the impossible.

[tumbledsom]

Chose to Doff My Hat to ‘Sanskaar’ for Aamis As I Had to Deal With CBFC: Bhaskar Hazarika Bhaskar Hazarika's Aamis is competing in the India Gold section of the Jio MAMI Mumbai Film Festival. He talks about his creative process, funding and the censor board. via Top Movies News- News18.com

[axomlyrics]

Priyo Naree Lyrics - Bhaskar Opswel |

Priyo Naree Lyrics – Bhaskar Opswel |

Priyo Naree Lyrics In Assamese, sung by Bhaskar Opswel. Originally sung by Ellana. Penned & Produced by Priyanku Hazarika. Song Details Song: Priyo Naree LyricsOriginal Song & Label: EllanaSinger: Bhaskar OpswelPenned & Produced by: Priyanku HazarikaCo-Produced by: Unmeelan BoruahProduction managed by: Unmeelan BoruahAudio Mixing Engineer: Nibir XOriginal Artwork, Video Editing, and Animation:…

[inmyworldblr]

Kothanodi (2015) | dir. Bhaskar Hazarika

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We have to create universal content , says Bhaskar Hazarika - art and culture

With an enthusiastic crowd patiently waiting outside the Cinépolis Fun Republic theatre, Andheri, it was heartening to see how Aamis (Ravening) — filmmaker Bhaskar Hazarika’s much-talked-about Assamese film pulled in people from a diverse spectrum, and not just the Assamese diaspora. What the crowd perhaps wasn’t expecting was a macabre end to what seemed like a sweet love story.Two films down and Hazarika has somewhat made a reputation as somebody, who is drawn to experimenting with dark themes and complex characters. His debut film, Kothanodi (2015), won a National Award for Best Film in the Assamese language. Based on characters and events described in Burhi Aai’r Xadhu (Grandma’s Tales), a beloved anthology of folk stories compiled by the Assamese literary giant Lakshminath Bezbaroa, Kothanodi proofed to be its sinister retelling. And, if it managed to spook people out, Aamis is a notch above that, a film that will make you question topics such as morality, and forbidden relationships. “I like watching films from the masters of horror and sci-fi,” says the director, and indeed, this love for the dreadful reflects in his work.Earlier this year in April, Aamis had premiered at the Tribeca Film Festival (TFF) in New York, USA, where it was nominated in five categories, including Best Film. The film also received two awards at the Singapore South Asian International Film Festival, Best Director for Hazarika and Best Actress for Lima Das. After watching the film, director Anurag Kashyap took note of it and wrote on his Instagram account, “have not seen anything like this coming out of India” before. Kashyap, who has been known to present independent films from across India in theatres, declared that he will be presenting Aamis. But, this was the first time he presented a film from North-East India.Aamis is a story set in urban Guwahati, Assam and written by Hazarika himself. It revolves around the lives of a doctor, and a PhD student, bonding over food — a variety of exotic meat. The story then takes a bewildering turn, which may even leave many in disbelief.

A still from Aamis ( Photo: Dolee Talukdar ) Starring debutants — Lima Das and Arghadeep Barua, Aamis, Hazarika says is based on the Romeo and Juliet template. He, who’d earlier cast popular actors such as Adil Hussain and Seema Biswas for Kothanodi, says that it is important to not have familiar faces while working on that template. “It is easier for the audience to relate to new faces when it’s a love story,” he says.When asked if he looks at himself as somebody who might be at the risk of being typecast as a teller of grim tales, he says, it’s only coincidental that both his films touch upon the deviant. “I am currently working on a comedy film, and I have also written a thriller,” he adds.Writing for an A-list Bollywood movie, is what most aspiring filmmakers look out for, but Hazarika chooses to focus on independent content. In 2012, he got writing credit for the Abbas-Mustan thriller, Players, a remake of the American film, The Italian Job (2003). Hazarika says being a part of that film was an eye-opener of sorts for him. “It helped me realise what I didn’t want to do,” he adds.For a long period of time, regional cinema meant only southern films. But with films such as Sairat (Marathi, 2015) making a mark, it doesn’t seem impossible for the mainstream to open up to films from North-East India, as well. Assamese cinema, especially, seems to have undergone a qualitative change with filmmakers taking on unconventional topics. For instance, in 2017, Village Rockstars, directed by Rima Das, was selected as India’s official entry to the 91st Academy Awards. But do these filmmakers make films keeping a universal audience in mind? “We have to create universal content, which will work outside,” Hazarika says. This belief is why he started Metanormal Pictures, a small studio based in New Delhi, with a vision to create original cinema from India, especially, with a focus on regional content.Is the audience, then, ready to take on such films?, we ask. Hazarika, who looks at filmmaking as his “job” and not particularly a “passion”, says it’s not a filmmaker’s responsibility to educate people to come and watch films from a certain region. “That’s too much pressure on the maker,” Read the full article