#Comedy Masala International

[cherlockgomes]

Bridgerton: A romantic poem about Indian culture.

As an Indian, Desi representation in the media can be difficult. It dances precariously between romanticism and downright insulting. It stands to change the world’s view on those with an ethnic background, often pushing the “white saviour” agenda forward. Speaking from personal experience, I can attest that it creates an internal battle. Growing up, I watched shows like Phineas and Ferb, where characters like Balgeet or Ravi from Jessie were portrayed as kooky, with exaggerated accents and quirks. While I agree stereotypes can often aid the comedy in a show, repeatedly watching the Desi characters be used as comic punching bags created an air of displeasure within me. I found myself wanting more and more to be like Hannah Montana, with her blue eyes and blonde hair, rather than one of the Patil Twins from Harry Potter. It took years to unlearn the racism I had internalised and finally see the beauty in my culture. 

It is possible to argue that the growing number of comedies starring racial minorities has facilitated racial tolerance. Take, for instance, the second season of the popular Netflix show Bridgerton, which centres around the romance between a viscount and a character of Indian descent, Kate Sharma. I liked the show's appreciation of my culture through romanticism. Three unique scenes stand out to me in particular—the hair oiling, tea brewing, and Haldi.

In the hair-oiling scene, Kate comforts her younger sister by running oil through her dark tresses. Sitting at your mother/grandmother’s feet while she oils your hair is a canon event in every Indian girl’s life. It is an intimate act of devotion and love in Desi culture, as the person takes great pains to massage the oil into every crevice of your scalp as it stimulates hair growth. In Western culture, oily hair is often looked down upon. While I grew up in India and thus had no first-hand experience of the same, I’ve read multiple stories about how brown girls were bullied and belittled for having oil in their hair. Therefore, seeing something as trivial as oiling a loved one's hair being romanticised in a popular show could change people’s perspective on Indian culture, enabling the rest of the world to see it as we do. 

A quintessential experience in a desi household is watching the chai (tea) being brewed as the aromas of its spices fill the air. Desi tea is more than just milky dishwater. It's a delicate blend of floral notes and spice that warms the back of your throat, only to be soothed by the creaminess of the milk. Making it is an art you’re forced to pick up as you watch your family members painstakingly observe the handi (pot) to ensure it doesn’t boil over. Like the hair-oiling scene, Bridgerton brings out this tradition quaintly. In an episode, Kate removes a few spices from a richly decorated pouch and adds them to a strainer suspended above a teacup, along with a handful of tea leaves. She then pours hot water over the mixture before adding milk to it. It is a scene shot in solidarity with close-ups of Kate’s actions to create an almost Wordsworthian romanticism of an activity nearly second nature to my people. Indian food is often criticised for being too smelly or having a flavour profile that’s too strong. Like the hair oil, Desi children are frequently belittled or bullied for bringing cultural dishes to school. Therefore, watching the precision and complexity that goes into making something as simple as masala chai (spiced tea) can change people’s opinions on the cuisine. 

As Indians, Haldi, or turmeric, is a spice that’s ever-present in our lives. It’s used in our dishes and is an answer to almost every disease and injury. As children, we’re urged to drink Haldi Doodh, or, as it’s better known by its gentrified name, golden latte. For centuries, it’s been used to treat injuries. When we get injured, the yellow powder is usually pressed to the wound as it is believed to hold natural healing powers. Thus, it comes as no surprise that we’ve even found a way to include the marvellous spice in our marriage ceremonies. The Haldi Ceremony is performed a day before the wedding. It takes place in the couple’s parental home, where a mixture of Haldi, oil and water is usually rubbed onto the face and upper body by the couple’s close friends and family. In Bridgerton, we see a similar practice carried out by Kate and their mother the night before Edwina’s wedding. The scene is portrayed in an intimate manner compared to the grandiose version you might see in a traditional Indian wedding. Nonetheless, seeing a critical Desi tradition integrated so well into a mainstream show was quite a surprise and a good one at that. I loved that they paid such close attention to detail, going so far as to drape the characters in yellow clothes, which are considered auspicious during a Haldi. 

I watched a beautiful Indian woman cast as the main character in a Netflix show instead of some caricature, and it healed something inside me. I loved that my culture was finally getting the appreciation and exposure it deserves. The way the show’s creators integrated age-old traditions into the storyline instead of repeating harmful stereotypes like with Apu from The Simpsons, made me appreciate the show and its gradual shift to accurate inclusivity.

The entire point of the Romanticism movement was to take seemingly mundane things and describe them in such a way that makes them seem extraordinary. It aims to change the person’s view on the subject by painting it in a remarkable light. Take, for example, the poem “The Orange” by Wendy Cope. It describes the simple joys in life, like sharing a fruit that graces almost every fruit bowl. It changes the way you look at things, and that’s why the romanticism of the Indian culture in something as mainstream as Bridgerton is so essential. It has the power to change how people view Indians and how we view ourselves. 

[abigail55]

Exploring the Vibrant World of Hindustani Cinema: A Kaleidoscope of Culture, Art, and Storytelling

Hindustani cinema, often referred to as Bollywood, is a vibrant tapestry of culture, art, and storytelling that has captivated audiences worldwide for decades. Rooted in the rich traditions of Indian culture, Hindustani movies offer a unique blend of melodrama, music, dance, and larger-than-life narratives that have left an indelible mark on global cinema. In this article, we embark on a journey to explore the essence of Hindustani cinema, delving into its history, evolution, and enduring appeal.

Origins and Evolution: The roots of Hindustani cinema can be traced back to the early 20th century, with the screening of India's first silent feature film, "Raja Harishchandra," directed by Dadasaheb Phalke in 1913. This landmark moment marked the beginning of a new era in Indian filmmaking, paving the way for the emergence of an industry that would eventually become one of the largest in the world.

In the following decades, Hindustani cinema underwent a rapid evolution, embracing sound technology with the release of "Alam Ara" in 1931, India's first talking picture. This innovation revolutionized the medium, allowing filmmakers to incorporate dialogue, music, and song into their narratives, shaping the distinctive style of Bollywood movies that we know today.

The Golden Age: The post-independence period witnessed the emergence of what is often referred to as the Golden Age of Hindustani cinema. Filmmakers like Satyajit Ray, Raj Kapoor, Guru Dutt, and Bimal Roy crafted masterpieces that not only entertained but also challenged societal norms and explored complex themes with depth and nuance.......watch more.

Movies such as "Pather Panchali," "Awaara," "Pyasa," and "Do Bigha Zamin" garnered critical acclaim both at home and abroad, earning Indian cinema international recognition and respect. These films transcended linguistic and cultural barriers, resonating with audiences around the world and cementing the legacy of Hindustani cinema on the global stage.

The Rise of Bollywood: The 1970s and 1980s witnessed the rise of the Bollywood masala film, characterized by its formulaic blend of romance, action, comedy, and music. Filmmakers like Yash Chopra, Manmohan Desai, and Subhash Ghai created larger-than-life spectacles that catered to the masses, introducing iconic characters, memorable dialogues, and timeless songs that became ingrained in the collective consciousness of Indian audiences.

During this period, stars like Amitabh Bachchan, Dharmendra, Sridevi, and Rekha rose to superstardom, becoming cultural icons whose influence extended far beyond the silver screen. Their larger-than-life personas and charismatic performances defined an era and contributed to the enduring popularity of Bollywood cinema.

Global Reach and Recognition: In recent years, Hindustani cinema has experienced unprecedented growth and recognition on the global stage. Films such as "Lagaan," "Slumdog Millionaire," and "3 Idiots" have garnered widespread acclaim at international film festivals and award ceremonies, showcasing the diversity and talent of Indian filmmakers to audiences around the world.

The success of these films has not only opened doors for Indian cinema in international markets but has also sparked a renewed interest in Indian culture and storytelling on a global scale. With streaming platforms like Netflix and Amazon Prime offering a vast array of Bollywood movies to a worldwide audience, Hindustani cinema has never been more accessible or influential.

Challenges and Opportunities: Despite its global success, Hindustani cinema continues to grapple with challenges, including piracy, censorship, and the dominance of formulaic storytelling. However, filmmakers are increasingly pushing boundaries and exploring new avenues of creativity, tackling taboo subjects, and experimenting with narrative techniques to engage audiences in fresh and innovative ways.

Moreover, the rise of independent cinema and digital platforms has provided a platform for emerging filmmakers to showcase their talent and reach audiences directly, bypassing the traditional studio system. This democratization of filmmaking has led to a proliferation of diverse voices and perspectives within the industry, enriching the cinematic landscape and offering new opportunities for artistic expression.

The Future of Hindustani Cinema: As we look to the future, the possibilities for Hindustani cinema seem limitless. With advancements in technology, changing audience preferences, and a growing global market, Indian filmmakers are poised to continue pushing boundaries and redefining the cinematic landscape.

From small-budget independent films to big-budget blockbusters, from traditional storytelling to experimental narratives, Hindustani cinema remains a dynamic and evolving art form that reflects the complexities and contradictions of Indian society. As long as there are stories to be told and dreams to be shared, the magic of Bollywood will continue to captivate audiences around the world, bridging cultures and inspiring generations to come.

Conclusion: In conclusion, Hindustani cinema occupies a unique and cherished place in the pantheon of global cinema. From its humble beginnings over a century ago to its current status as a cultural juggernaut, Bollywood has captivated audiences with its colorful characters, melodious music, and larger-than-life narratives.

As the industry continues to evolve and adapt to changing times, one thing remains constant: the enduring appeal of Hindustani cinema as a celebration of life, love, and the human experience. Whether you're a casual moviegoer or a die-hard fan, there's something magical about Bollywood that transcends borders and brings people together in joyous celebration of the art of storytelling.

[desicinema2]

Exploring the Evolution of Desi Cinema: A Global Phenomenon

Desi cinema, a vibrant and multifaceted domain, refers to the film industries of South Asia, primarily those from India, Pakistan, Bangladesh, Nepal, Sri Lanka, and Bhutan. But when most people mention "Desi cinema," they often mean Bollywood—India's Hindi-language film industry. However, to focus solely on Bollywood is to miss the rich diversity of cinematic traditions that have emerged from this culturally and geographically varied region.

This blog post aims to explore the evolution of desicinema, its global influence, and how it has transitioned from regional storytelling to a powerful force on the global entertainment stage.

The Roots: Traditional Storytelling and Early Cinema

Before the advent of cinema, storytelling in South Asia was primarily oral, passed down through generations in the form of folktales, mythological epics, and performances like dance-dramas and theatrical productions. The cultural legacy of these traditional forms heavily influenced the development of cinema in the subcontinent.

The first recorded instance of filmmaking in India can be traced back to the late 19th century. In 1913, Raja Harishchandra, the first full-length feature film by Dadasaheb Phalke, marked the beginning of Indian cinema. It was a silent film that adapted Indian myths and folklore into a visual narrative.

However, the true flowering of Desi cinema began in the 1940s and 1950s, as the rise of regional film industries—like the Tamil film industry (Kollywood), Telugu cinema (Tollywood), and Bengali cinema—gave birth to new filmmaking styles, genres, and storytelling techniques. Directors like Satyajit Ray in Bengal revolutionized Indian cinema with his Apu Trilogy in the 1950s, which focused on humanist themes and portrayed India's socio-cultural realities with sensitivity and depth.

The Golden Age: Bollywood Dominance

By the 1950s and 60s, Bollywood, which had already existed in its early stages since the 1930s, began to establish itself as the dominant force in Indian cinema. Films from this era were marked by larger-than-life stories, elaborate song-and-dance sequences, and strong emotional appeal, which resonated with both rural and urban audiences. Bollywood's penchant for grand romance, family dramas, and escapist fantasies created a unique cinematic language that could transcend linguistic and regional barriers.

Key figures like Raj Kapoor, Guru Dutt, Madhubala, and Meena Kumari became household names, and their films gained a cult following not just in India, but across the globe. In the 1970s and 80s, Bollywood evolved further with stars like Amitabh Bachchan, who became iconic for his roles in action-packed blockbusters like Sholay (1975) and Zanjeer (1973). During this period, the genre of the masala film emerged, blending action, drama, comedy, romance, and music into a single package that catered to a wide audience.

Post-1990s: Globalization and the Rise of NRI Cinema

The 1990s ushered in a new era for desi cinemas with the global expansion of Bollywood films. Economic liberalization in India, combined with the growing influence of the Indian diaspora, transformed the way Desi films were made and consumed. The advent of satellite TV and the internet brought Bollywood films to millions of homes worldwide, from the Middle East to the United States, the United Kingdom, and beyond.

Filmmakers like Yash Chopra, Aditya Chopra, and Karan Johar capitalized on this trend by making films that explored themes of identity, love, and cultural assimilation for the NRI (Non-Resident Indian) audience. Movies like Dilwale Dulhania Le Jayenge (1995), Kabhi Khushi Kabhie Gham (2001), and Kabhi Alvida Naa Kehna (2006) became cultural touchstones, resonating with both Indians living abroad and international audiences who were drawn to the romance and spectacle of Bollywood.

Simultaneously, other regional film industries like Tollywood (Telugu), Kollywood (Tamil), and Mollywood (Malayalam) gained prominence both within India and internationally, producing films with distinct storytelling traditions. For instance, Telugu cinema's Baahubali series (2015-2017) became a global sensation, demonstrating the massive appeal of regional films on the international stage.

Contemporary Desi Cinema: Diversity and Innovation

The 21st century has witnessed an explosion of diversity within Desi cinema. Bollywood continues to dominate, but now it faces competition from other regional industries. Filmmakers are increasingly experimenting with content, blending genres, and telling stories that push boundaries and explore pressing social issues. Films like Gully Boy (2019), Article 15 (2019), Andhadhun (2018), and Dangal (2016) have been successful not only in India but internationally, gaining recognition at film festivals and even securing global distribution.

Bollywood's content has evolved significantly, with greater emphasis on social issues such as gender equality, caste discrimination, and mental health. The emergence of streaming platforms like Netflix, Amazon Prime Video, and Disney+ Hotstar has also had a significant impact, providing a space for films with niche or unconventional themes to find an audience. These platforms have made Desi cinema accessible to a global audience, breaking down geographical boundaries and allowing for more diverse narratives.

Moreover, the success of films from Pakistan like Khuda Kay Liye (2007) and Cake (2018), as well as Sri Lankan cinema's growing presence on the international stage, underscores how Desi cinema is not limited to India but is a broader, regional phenomenon with a distinct voice.

The Global Influence of Desi Cinema

Desi cinema's influence has also gone beyond the screen. The vibrant world of Bollywood music, with its catchy tunes and intricate choreography, has influenced global pop culture. The Bollywood dance style has found its way into international music videos and performances, and major Western artists like Beyoncé and Madonna have incorporated elements of Indian dance and fashion into their works.

Actors like Priyanka Chopra, Irrfan Khan, and Dev Patel have become global stars, representing the growing international appeal of Desi cinema. Bollywood itself has also increasingly embraced Hollywood collaborations, with films like Slumdog Millionaire (2008) and The Lunchbox (2013) gaining worldwide acclaim.

At the same time, Desi cinema has influenced other global film industries. For example, the fast-paced, action-packed style of Bollywood has inspired filmmakers in the Middle East, Africa, and even Latin America. Indian cinema’s emotional depth and dramatic flair have been admired and adopted in various forms across the world.

Conclusion: The Future of Desi Cinema

As Desi cinema continues to evolve, it is embracing an exciting future marked by bold storytelling, technological innovation, and cultural exchange. The proliferation of digital platforms, the success of regional films on the global stage, and the increasing representation of South Asian narratives in mainstream Western media suggest that the world is ready for more of the unique flavor that Desi cinema has to offer.

For audiences, whether they are tuning in from India, Pakistan, the UK, or anywhere else, Desi cinema offers not only entertainment but also an opportunity to engage with a dynamic, diverse, and ever-evolving cultural landscape. It’s no longer just about Bollywood. It's about a global phenomenon with stories that resonate universally while celebrating the distinct cultural identities that make Desi cinema so unique.

So whether you're a fan of the glitz and glamour of Bollywood or a lover of the raw, powerful narratives emerging from regional cinemas, one thing is clear: Desi cinema is here to stay, and its influence will only grow stronger in the years to come.

[kawaiinachobasement]

The Evolution of Bollywood: From Silent Films to Global Blockbusters

Bollywood, the Hindi language film industry based in Mumbai, India, has undergone a remarkable transformation since its inception in the early 20th century. From its humble beginnings with silent films to its current status as a global powerhouse, Bollywood has captivated audiences worldwide with its unique blend of storytelling, music, dance, and cultural richness.

The Silent Era and the Birth of Talkies The first Indian silent film, "Raja Harishchandra," was released in 1913. The silent era was characterized by elaborate sets, dramatic gestures, and intertitles to convey dialogue. However, with the advent of sound technology in the 1930s, Indian cinema entered a new era. "Alam Ara" (1931) marked the birth of talkies in India and revolutionized the industry. The ability to incorporate dialogues, music, and sound effects opened up a whole new world of storytelling possibilities.

The Golden Age and the Rise of Bollywood The 1950s and 1960s are often referred to as the Golden Age of Bollywood. This era saw the emergence of legendary actors, directors, and music composers who shaped the industry's identity. Films like "Mother India" (1957) and "Mughal-e-Azam" (1960) achieved both critical acclaim and commercial success, establishing Bollywood's presence on the global stage. These films explored social issues, historical epics, and romantic dramas, resonating with audiences across generations.

The Masala Era and the Commercialization of Bollywood The 1970s and 1980s witnessed a shift towards commercialization in Bollywood. This era, often referred to as the "Masala Era," was characterized by a formulaic approach to filmmaking that blended action, romance, comedy, and melodrama. The rise of Amitabh Bachchan as the "Angry Young Man" and his iconic films like "Sholay" (1975) and "Deewar" (1975) cemented this trend. Bollywood films became known for their larger-than-life characters, extravagant song-and-dance sequences, and escapist narratives.

The New Wave and the Rise of Parallel Cinema While the commercial cinema thrived, a parallel movement known as "New Wave" or "Parallel Cinema" emerged in the 1970s. This movement sought to explore more realistic and socially relevant themes, often deviating from the mainstream Bollywood formula. Filmmakers like Shyam Benegal, Satyajit Ray, and Mrinal Sen gained recognition for their thought-provoking films that tackled issues like poverty, caste discrimination, and political corruption.

The Globalization of Bollywood and the Digital Age In the late 20th century, Bollywood began to gain international recognition. The diaspora communities played a crucial role in spreading Bollywood's reach beyond India. The advent of satellite television and the internet further accelerated this process. Bollywood films found audiences in diverse countries, especially among the South Asian diaspora.

The digital age brought about significant changes in Bollywood. The rise of social media platforms and streaming services democratized the distribution and consumption of films. Bollywood embraced digital marketing strategies to reach a wider audience. The industry also witnessed a surge in independent filmmakers who experimented with different genres and storytelling techniques.

Bollywood Today and the Global Impact Today, Bollywood is a global phenomenon. Its films are released worldwide, and its stars have a massive following on social media. Bollywood has become a cultural ambassador for India, showcasing its rich traditions, music, and dance to the world. The industry has also embraced collaborations with international filmmakers and actors, further expanding its global footprint.

Bollywood has come a long way from its silent film roots. It has evolved into a dynamic and diverse industry that reflects the changing aspirations and sensibilities of its audience. With its vibrant storytelling, catchy music, and captivating dance sequences, Bollywood continues to enthrall audiences worldwide, leaving an indelible mark on the global cinematic landscape.

[starfriday]

*Watch: Total Laughter and Intrigue as "The Defective Detectives" Trailer Promises a Perfect Blend of Masala!*

Link: https://youtu.be/nUoB9twrDH0?si=K5Hwp4AROAYSmRTo

After much anticipation, the trailer for "The Defective Detectives" by renowned writer and director Paritosh Painter and producer Rajeev Kuumar Saha under Saha & Sons Studios & Ideas The Entertainment Co presentation, has finally hit the screens today.

The trailer promises an exhilarating mix of humour, thrill, suspense, and all the perfect masala that audiences crave for in a Bollywood comedy-suspense drama.

The plot revolves around three friends, Shree, Aditya, and Manav, each with their unique abilities - blind, deaf, and dumb respectively. Facing financial troubles, they embark on a journey to start a detective agency, believing that God compensates one ability with a special one. It's a humorous take on how anybody, regardless of physical disabilities, can achieve greatness with gumption and grit.

Smartly concealing the main plot and details, the trailer hints at a hilarious yet thrilling ride as Maria, portrayed by Shweta Gulati, enlists the help of the specially-abled trio to bring the cheating Ganesh, played by Bharat Dabholkar, to justice. However, their elaborate plan faces obstacles when Inspector Alia, portrayed by Tejaswini Lonari, intervenes.

Already creating a buzz on social media, "The Defective Detectives" starring Paritosh Painter, Siddharth Jadhav, and Jayesh Thakkar in the lead, along with Johnny Lever, Vijay Patkar, Shweta Gulati, Jesse Lever, Bharat Dabholkar, and Tejaswini Lonari, in pivotal roles, has garnered attention for its unique concept and stellar cast. For the uninitiated, "The Defective Detectives" has also earned accolades at over 10 international film festivals for its innovative storytelling and entertainment quotient.

Set to release in English, "The Defective Detectives" is poised to be a laughter and suspense filled extravaganza that promises to leave audiences in splits and also keep them booked onto their seats. Stay tuned for its theatrical release and get ready to embark on a joyous journey with Shree, Aditya, and Manav!

[williamlembi]

The 1960s saw the rise of masala movies, which were a mix of various genres such as romance, action, comedy, and drama. This was also the time when Bollywood started to produce movies with international appeal. Movies like Mughal-e-Azam (1960) and Sholay (1975) became major hits not just in India, but also in other parts of the world.

The 1980s saw the emergence of the superstars of Indian cinema, such as Amitabh Bachchan, who became an icon in the industry. This was also the time when movies started to become more extravagant, with elaborate sets and costumes.

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The 1990s to Present: The Technicolor Era

The 1990s saw the introduction of modern technology in Indian cinema. With the advent of computers, movies started to use advanced special effects and animation. This era also saw the rise of independent cinema, with directors like Ram Gopal Varma and Anurag Kashyap making movies that were different from the mainstream masala movies.

Today, Bollywood movies are made with the latest technology, and they are more polished and sophisticated than ever before. We have movies like Baahubali (2015) 8xmovies that have raised the bar for Indian cinema and have made a mark on the international stage.

[letterboxd]

Top 100 Films by Asian Women.

East Asian literature/film academic and Ann Hui fan Jessica Siu-yin Yeung explores our newest official list—the 100 highest-rated narrative feature films directed by Asian women—where she finds quiet icons biding their time as the movie lovers of the world catch up.

In celebration of Chloé Zhao’s historic Oscar wins, and to fill a major gap in film lovers’ lives, the team at Letterboxd has computed the 100 highest-rated narrative feature films directed by Asian women. The list is derived purely from ratings rather than popularity (a measure of all activity around a film), and there are several well-known directors on the list—Lulu Wang, Chloé Zhao, Mira Nair, Naoko Yamada, Alice Wu, Deepa Mehta—alongside many more waiting to be added to your watchlists.

Eligibility for the top 100 required that directors be of Asian heritage, regardless of where they were born, or where they make their films. It is, of course, a sweeping definition, encompassing directors of south, east and central Asian heritage from across the world (a list focused on west Asian filmmakers is still to come).

From such a wide net, it could be assumed that common ground may be hard to find. And yet, having watched the films and examined the list’s statistics, I’ve noticed interesting thematic discoveries that highlight the ways in which Letterboxd members have been watching—and appreciating—the endeavours of female Asian filmmakers from the last half-century.

I specify “last half-century” because the earliest film on the list is from 1982. By comparison, the earliest film on the official Letterboxd list of 100 highest-rated films by women is from 1926, and the earliest from the Official Letterboxd 250 is Buster Keaton’s Sherlock Jr., from 1924. As a comment on how the global film industry and film lovers alike have prioritized cinematic voices, this speaks volumes. In fact, just five films in the top 100 films by Asian women were released prior to this millennium.

‘Salaam Bombay!’ (1988), directed by Mira Nair.

Those five titles are from celebrated forerunners in their field. Mira Nair’s Salaam Bombay! (1988) and Mississippi Masala (1991), Ann Hui’s Boat People (1982), Deepa Mehta’s Fire (1996) and Naomi Kawase’s Suzaku (1997) are united in their humanitarian concerns for local, marginalized populations. From children in Mumbai slums and Vietnamese civilians under communist rule, to a cross-race relationship, lesbian love in India, and a Japanese family dissolving in the face of modernity, Nair, Hui, Mehta and Kawase have brought their documentarian interests to bear on their narrative filmmaking.

By earning selection in major film showcases, including the Hong Kong Film Awards (Hui), the Vancouver International Film Festival (Mehta), the Venice International Film Festival (Nair) and the Cannes Film Festival (Nair and Kawase), these directors’ endeavors paved the way for newcomers. Early success on the global stage might have seen these filmmakers labeled as arthouse directors, much like their auteurist male counterparts, such as Satyajit Ray, Wong Kar-wai and Yasujirō Ozu, who made films with interrelated themes and consistent styles.

But a tightly defined style is not a virtue of these four women, who straddle the arthouse-commercial divide, work across diverse media (fiction, documentary, television, short and feature films), and genres (comedy, romance, animation, fantasy, horror, crime and action). It seems that to be an Asian woman behind the camera is to be realistic rather than idealistic about the artistic visions they bring to life, to be flexible in managing different budgets and project sizes, and to be content with being regionally popular—until the world catches up.

‘A Simple Life’ (2011), directed by Ann Hui.

Genre-wise, the list’s 27 comedies and 35 romances testify as to how these shrewd directors have combined commercial appeal with their personal aspirations in order to build their careers. Accordingly, recognition has often come later in life than it did for their male counterparts. Take septuagenarian Hong Kong New Wave director Ann Hui. Of the more than 30 films she has made, two appear in the top 100: Boat People (1982) and A Simple Life (2011). The former, a socio-political feature, was banned in Taiwan and China, while the latter was an apolitical Hong Kong-mainland co-production, acclaimed by pan-Chinese and international audiences.

At 74, Hui is the same age as the Taiwanese New Wave male filmmaker Hou Hsiao-hsien, who has enjoyed auteur status and critical attention ever since his film A City of Sadness won the Venice Film Festival’s Golden Lion in 1989. Having worked diligently over the past four decades, Hui, however, only received her Golden Lion for Lifetime Achievement last year (it was a small miracle that she was able to attend in person, thanks to Venice’s commitment to a real-life festival event in 2020).

“Diligence is fucking useless!” bursts Hui, in Man Lim-chung’s recent and moving documentary Keep Rolling (2020), a timely celebration of Hui and her storytelling. Her frustration in navigating the highly commercialized movie industry as a humanitarian female filmmaker is evident—and somewhat universal. Geopolitical sensitivities notwithstanding, female Asian filmmakers like Hui are sincere in making the most of their opportunities to shine a light on peoples’ plights, especially those suffering because of their gender or sexuality.

‘A Silent Voice’ (2016), directed by Naoko Yamada.

The new generation of Japanese and South Korean female filmmakers approach these themes creatively. Naoko Yamada and Shouko Nakamura use their deep understanding of Japan’s edge as the hub of East Asian popular culture to approach sensitive subjects through animation. Nakamura-san’s Dou kyu sei (‘Classmates’, 2016), is a sweet, 61-minute boys’ love story, while the highest-rated film in the top 100 is Yamada-san’s touching and gorgeous A Silent Voice (2016), which addresses disability and school bullying.

While this list focuses only on directors, it is important to note that, more often than not, these filmmakers also wrote their films, and that when they have worked with others, they are often loyal collaborators. A Silent Voice’s scriptwriter Reiko Yoshida, for example, has worked alongside director Yamada for years.

This feels important in the context of the “epidemic of invisibility”, as documented by the Annenberg Inclusion Initiative, which recently found that only 5.9 percent of the speaking roles in major box-office films from 2007 to 2019 were played by Asian American or Pacific Islander (AAPI) actors. When writer-directors can shape their own cinematic worlds, stereotypes and under-representation become less of an issue. As a female Asian spectator, I find myself more likely to relate to characters in these 100 films, than in Hollywood representations of ‘Asian-ness’ such as Mulan (2020) and Crazy Rich Asians (2018).

Although East Asia is a stronghold for female filmmaking success—41 of the directors on the list are from the region—Southeast Asian filmmakers are up-and-coming. Films by directors from Indonesia, the Philippines, Thailand and Vietnam comprise eighteen of the list entries, and seventeen are helmed by Korean or Korean American directors (including Jennifer Yuh Nelson, making the list with Kung Fu Panda 2).

‘Kim Ji-young, Born 1982’ (2019), directed by Kim Do-young.

Released between 2001 and 2020, the South Korean films in the top 100 epitomize that country’s belated feminist filmmaking movement. Kim Do-young’s Kim Ji-young, Born 1982 (2019) sits at the forefront of the movement, and is especially representative of the multitude of roles held by Asian female creatives as they work towards film careers. The story of a woman who struggles to reconcile her gender expectations, Kim Ji-young, Born 1982 was originally a novel written by television scriptwriter Cho Nam-ju, then adapted by Kim as her first feature film, after a career as an actress.

Before, and especially since Bong Joon-ho’s Academy Awards for Parasite (2019), he has made a habit of pointing film lovers towards female Korean directors, especially Yoon Ga-eun. Indeed, the Korean filmmakers on this list are well-celebrated at home: Lee Jeong-hyang’s The Way Home (2002), Boo Ji-young’s Cart (2014), July Jung’s A Girl at My Door (2014), Han Jun-hee’s Coin Locker Girl (2015), Lee Hyun-ju’s Our Love Story (2016), Yoon Ga-eun’s The World of Us (2016), Jeon Go-woon’s Microhabitat (2017), Bora Kim’s House of Hummingbird (2018), Yim Soon-rye’s Little Forest (2018), Yoon Dan-bi’s Moving On (2019) and Hong Eui-jeong’s Voice of Silence (2020) have won or been nominated for the Blue Dragon Film Awards, also known as “the Korean Oscar”. I hope these filmmakers can also win major international awards someday—as long as voters can overcome the “one-inch-tall barrier of subtitles”.

A threshold of at least 1,000 ratings means that many films and directors who are highly celebrated by local audiences did not make this global list. This requirement explains why the godmother of Malaysian cinema, the late Yasmin Ahmad, is missing. Likewise, the list focuses only on narrative features, but that is no reason to sleep on the films of Vietnam’s celebrated documentarian, Trinh T. Minh-ha. A particularly surprising omission from this year: Jia Ling’s Hi, Mom. The hit comedy, the highest-grossing film by a solo female filmmaker of all-time, is a local phenomenon in China but yet to register with Letterboxd members.

‘Suzaku’ (1997), directed by Naomi Kawase.

The lesson here is watch, log and rate—if you can find the films, that is. To my surprise, Mira Nair’s Golden Lion winner Monsoon Wedding (2001) is the only film from the list currently in the Criterion Collection. As the ‘World of Wong Kar Wai’ box set, released in March this year, has become an instant bestseller, can we please also have the ‘World of Naomi Kawase/Mira Nair/Ann Hui’ and other younger filmmakers’ works, so that when we look up Kim Ji-young, Born 1982, we’ll not be offered Kim Ki-young’s The Housemaid (1960)? Educators, I believe, would especially welcome the move; teaching the art of female Asian filmmakers requires the availability of such resources.

In fairness, many of the films are available on streaming platforms, and some of the filmmakers on this list have been widely celebrated. There was Ann Hui’s Venice honor last year, and Deepa Mehta’s Elements trilogy (Fire, Water, Earth) was in focus at the 2019 Busan International Film Festival. Currently, Japan Society has Naomi Kawase’s True Mothers streaming, and from South Korea, Jeon’s Microhabitat features in Hong Kong’s Independently Yours Korean Women Independent Film Series (running until July) and Boo’s Cart is in Korean Film Festival Canada’s Women’s Perspective in Korean Film season-two program, from September 30 to October 30 of this year.

‘Dead Pigs’ (2018), directed by Cathy Yan.

As international film festival programmers organize more retrospectives, and film archivists thrill at discovering prints from early- and mid-20th-century Asia, the boundless possibilities for showcasing more works by female Asian filmmakers remain largely unexplored.

For now, book yourself a ticket for Cathy Yan’s 2018 masterpiece Dead Pigs, number 64 on the list. Yan’s Birds of Prey predecessor is a social satire based on real events involving the Yangtze River, the aforementioned pigs, homing pigeons, noodles and class differences. Thanks to Film Movement, it’s in select real and virtual cinemas in the US now.

I look forward to seeing your lists of the ten, or twenty, or one hundred films by Asian women that you love the most.

Related content

Asian Women Directors: The Official Top 100 Narrative Feature Films

Keep Rolling, Man Lim-chung’s documentary on filmmaker Ann Hui, currently doing the festival circuit

R’s list of films directed by Korean women

Rahat’s list of the 100 Highest-Rated Chinese-Language Feature Films (including films from mainland China, Taiwan and Hong Kong)

So Yun Um highlights ten underrated and under-seen Asian American and Pacific Islander films set against the backdrop of America

Follow Hayley Scanlon’s Windows on Worlds project for deep dives into East Asian cinema

Follow Jessica on Letterboxd

Header image: Ann Hui, photographed with camera, during her school days.

[2seokfan]

Scarlet & Hazel | Ch. 1

pairings: hoseok x reader x yoongi

genre: fluff, very light angst, smut (future)

word count: 3.6k

chapters: ch.1, ch.2, ch.3, ch.4

summary: 

Just cause you’re living paycheck to paycheck in a tiny apartment even after graduating college doesn’t mean you’re not happy. So what if your best friend is working her dream job making close to six figures every year?  So what if she’s in a loving, committed relationship with her perfect boyfriend that you’re 99% sure is going to propose to her sometime next year? It doesn’t matter that your idea of a perfect relationship is a $9.99 bottle of wine on Friday nights while you binge watch Netflix specials.

Ok so maybe you’re a teensy bit miserable. Maybe you have no idea what you’re doing with your life. Maybe all you need to do is accidentally cross paths with two hybrids who will drastically change that.

Meet “Scarlet” and “Hazel”, two of the most gorgeous hybrid men you have ever laid eyes on. With their help, you learn that life is an adventure, a rollercoaster with ups and downs, and you were too preoccupied with yourself to climb out of your own predicament. And hey, you’re not much of a romantic, but with these two, you just might change your mind.

note: Hi! This is my first fic ever! I don’t even know if anyone’s gonna read this but I’ve had this idea in my head for awhile so fuck it.

You kicked off your shoes and threw your purse on the couch.

“God my back hurts!” 

Honestly with the amount of random bodily aches you experience on a daily business you could pass for being 70 years old. But this time you knew where the pain stemmed from. You just had to fall asleep awkwardly after a night on your phone. And of course today was a work day and you slept past all THREE of your alarms. But you know that feeling when you sleep for a suspiciously long amount of time and something doesn’t feel right? That’s the sixth sense that saved your ass this morning because your internal body clock was like sweetie I think you’re late. 

You only had time to slap on some makeup, hoping it looked semi decent, and throw your greasy hair into a messy, but passable bun because no one wants to see an ugly receptionist. You had to skip your morning Starbucks drive-through routine because you’re about to be LATE, late so you grab your keys and start your car, booking it to work.

You work at a private hybrid clinic which pays a little better than most but that means you also have to deal with a lot of attitude from rich “owners” (you hate that word). And you sat weirdly at work today so that did nOThing to help your back pain. Also how come everybody decided to book an appointment today?? It’s Friday for god's sake why does everyone and their mothers decide it’s time to call the clinic and book a checkup. They get so mad at you when you say this whole month is filled. You can’t change the schedule though?? The calendar’s filled lady either get over it and settle for next month or fuck off (of course you don’t say that out loud cause you’ll get fired). Also someone yelled at you today because they didn’t like the magazine choices in the waiting room.

Anyways your day sucked and you couldn’t be happier being back in your tiny apartment to binge watch netflix stand-up comedies until you collapse. Well you say it’s your apartment but you actually have a roommate. She’s nothing like you though, she’s the epitome of responsibility. You agreed to live with her even though you met her through Craigslist because once you met her in person you deemed her genuine enough, and also found out she’s hardly ever at the apartment but she still pays rent on time?! You really hit the jackpot with her honestly. Cause you can be a little bit messy sometimes but even when she is home she never complains. The only negative side of having her as a roommate is that you never really had time to bond with her cause she’s so busy and over your league that even after a year you two still aren’t anything more than friendly acquaintances.

Alright time to get out of your work clothes and into nothing but your favorite oversized t-shirt with no pants on because that is what you deem home-appropriate attire. But before you turn on netflix your tummy is making “feed me” noises so it’s time to check the fridge. Damn no leftovers. Time to crack open one of those Trader Joe’s frozen meals you have stacked in the freezer. You blindly pick a box. Guess you’re having vegan tikka masala tonight. Not gonna lie though those frozen meals are actually not half bad. Or maybe you’ve been away from good home cooking for so long you’ve become desensitized? Who cares, you’re hungry. Also it’s Friday, so no harm in cracking open a bottle of wine right?

When you’re all settled on the couch with your favorite plush blanket on your legs, a random comedian on tv, and a full tummy, your mind drifts away. It’s Saturday tomorrow and you have the weekends off. Maybe you should do something fun for yourself to make up for the crap you had to deal with today. You text your best friend Karli. You know she’s awake since it’s only 10pm.

You: Hey girl wanna go to the beach or smth tmrw?? <3

Karli: Yaaas ok I don’t work!! What time?

You: and we can walk around all the fancy stores and get coffee from that place we love.

You: hmmm how bout meet there @11??

Karli: Sounds good sweetie want me to pick you up?

You: no its ok ill meet u there i need to buy groceries after

Karli: Kk love ya see you then!!!

You: love ya! night bby

Karli knows that when you say “go to the beach” you really mean walk along the beach and the nearby stores because it’s early June and prime tourist season. That means the sand is packed with people and their kids and the water’s probably filled with pee so you’re not really down for that. Also the expensive shops near the beach are so cute and you love walking around window shopping, pretending like you can actually afford any of the items on display.

The wine is now getting to you cause before you know it you find your eyelids getting heavy. You muster up your last ounce of strength to turn off the tv and force yourself out of the couch cause your poor back doesn’t need another excuse to keep hurting. As much as you don’t want to wash your face and brush your teeth, you have to because you don’t want makeup on your pillowcase tonight. And when you finally crawl into bed you knock out instantly.

BEEP BEEP BEEP

“Oh fuck…”

You forgot that drunk you last night set an alarm today for 9am. Thank you drunk Y/N. 

Why 9am? Because you need to shower and get ready, plus the beach you’re going to is near the north part of the city, which is also the expensive part of the city, meaning it’s a LONG ways from where you live. But the stores are aesthetically pleasing and it contains both you and Karli’s favorite coffee shop so you’re willing to make the 25 minute drive. Karli doesn’t have to worry though because she lives a lot closer than you do. Girl has got her shit together. Honestly you’re just glad she decided to move back after graduate school cause the long distance friend thing sucks balls.

You hop in the shower and rinse yourself awake. The weather is perfect, warm but not too hot. Unlike many people who prefer to dress up for a nice outing, you’re just the opposite. You’ve been forced to dress in nice business attire with a full face of makeup all week. Hell no are you dressing up on your days off too. It’s a sweatpants and tank top kinda day so that’s exactly what you wear. Ever since college you’ve spoiled yourself into only wearing comfy clothes whenever you have the chance and it’s become a minor problem in your life. You have some perfectly nice jeans in the closet but you haven’t worn them in forever. And you’re not gonna wear them today either. And makeup? Who needs makeup? You’ll just go barefaced since you have no one to impress. Actually just kidding maybe a little concealer just to cover up a few rough spots but that’s IT. You’re still a little self conscious and you know you have to work on that but not today.

It’s now 10:15. You grab your purse from the couch, slip on your favorite pair of slides and head to your car. You’re the kind of person who absolutely needs music when you drive so you quickly start blasting your favorite playlist. Before you know it, you’re pulling up to the beach area. Parking is hard to find on the weekend but your lucky ass managed to squeeze into a street parking spot right as someone pulls out. You lock your car and make the trek to Cozy Coffeehouse, your favorite coffee shop hands down.

Karli is already here and she’s hopping up and down, waving at you. She looks super cute today in her little black dress and fishnets. She’s had the same taste since high school and you’re glad that even a Master’s degree hasn’t stopped her from dressing all punk on her days off. You jog over and give her a quick hug.

“Hey girl look at you!! You’re so cute!” You take in her makeup and you swear if she didn’t go the corporate route she definitely should have been a makeup artist. Her eyeshadow is amazing and you’ll never ever have the blending talent that she has, nor could you ever get your eyeliner to look that sharp.

“Aw thanks! You look comfy though I’m kinda jealous now maybe I should’ve dressed down.” 

“No I love your outfits! Besides, someone has to look nice in this relationship.”

You link arms and march into the cafe. It’s located near the fancy designer stores on a large hill overlooking the beach. When you step inside the whole atmosphere screams ‘cozy’, fitting its name perfectly. The interior is littered with mismatched sofas and armchairs but it somehow still looks aesthetically pleasing. Soft piano jazz is playing through speakers and when you step inside the delicious scent of freshly ground coffee beans immediately invades your nostrils.

You glance at their pastry display first. Today must be your lucky day because they have tiramisu and you absolutely love tiramisu but it’s usually sold out. No way in hell are you letting this chance slide, fuck breakfast norms you’re definitely getting a bite of that. Unfortunately you’re not a fan of sugary treats on top of sugary drinks so to balance things out you choose to order their house brew.

After you two order, you find a spot in one of the plush armchairs near the window and sit. You really are lucky today since window seats are usually taken. But not this time! You guys get to enjoy the gorgeous scenery displayed before you. The sun is bright, people are laying on the beach tanning, and kids are splashing each other with water. For the first time in awhile, you feel content with life, if only for a bit. 

Before long your orders are called out and you stand up to retrieve them. Once you’re settled, you break into conversation with Karli, eager to catch up on everything that happened since you two last spoke face-to-face. You talk about work, Karli’s boyfriend Sunny, that new pizza place that opened up near your apartment that actually has really shitty pizza.

“Like seriously how do you fuck up pizza that badly?” you exclaim in between generous bites of tiramisu.

“No I get you,” Karli responds, slurping her iced mocha frappuchino, “everybody knows what pizza is supposed to taste like, I mean it’s gotta take talent to actually fuck it up to the level you’re describing girl.”

“Exactly!!” You wave your arms in the air, wanting to physically demonstrate your frustration at the situation and your passion for good pizza.

“Anyways…” Karli gently sets her drink down and takes on a more serious tone. “How are you though, honestly.”

“Hmm, me?” You swallow your last bite of tiramisu, “I’m doing good. Works ok, life’s ok. You know. Everything’s… ok.”

“I get that everything’s ‘ok’ but you know I want you to be more than ok. I want you to be happy”

You see the genuine concern in her eyes. Bless this girl for being so soft-hearted.

She continues, “And when was the last time you dated? Like, what, 2 years ago??”

Of course she has to mention dating. Karli has always been a romantic. You? Not so much. Your brain tended to err on the logical, practical side, which is not always a good idea since it keeps you away from many potential relationships.

“I date!” You scoff, but you’re not convincing anybody, least of all yourself.

“Oh really?” Her eyes widen in mock surprise, “Tinder one night stands don’t count babe. You know what I mean.”

“Well you didn’t specify…” You mumble, trying to come up with any excuse to defend your pride. You know she’s just being a good friend and that she’s asking because she cares about you, so you don’t let her questions irritate you.

“Sweetie I’m not trying to make you feel bad and I’m sorry if it comes across that way. It’s just… you mean a lot to me and you’re my bestie and I just want to see you be happy.” She takes your hand from across the table and looks you in the eyes. “We don’t get to see each other as much as we used to, so when I do I want to check in on how you’re doing.”

Then she averts her eyes, which you find highly suspicious. “Also I may or may not have found someone who I KNOW will be a perfect match for you.”

“AHA I KNEW you were leading up to something!”

“Wait but hear me out. He’s an accountant and at first I was like hmmm is he too boring for Y/N? But then I realized I was judging him by his job and that’s not cool so I talked to him and he’s, like, actually super cute and super sweet and I think you two will get along so well!” She’s speaking very fast at this point, trying to squeeze out as much information as possible before you can interject. Then she finishes with one of her signature Karli smiles, big and wide and all teeth and she knows you can’t say no to that face.

“Dammit. Fine.” You lost this round. “Alright if he wants to meet up I won’t say no. How bout that?”

“Gee that’s so thoughtful of you Y/N.” Her tone is sarcastic but she’s still smiling so you know she means no harm.

After another half hour of conversation, locked in a heated debate about food again (this time she’s defending her stance that pineapple belongs on pizza), Karli’s phone rings. The sound scares the poor girl half to death, and watching her jump a mile from her couch had you snorting into your coffee mid drink.

She looks at the caller ID, muttering under her breath, “It’s Saturday what do they want?” then glances up with a sad little pout, “Sorry Y/N it’s work gimme a sec…”

From what you can hear on her side of the conversation, something has come up and she has to head to the office right away. 

“Ok I’ll be there in fifteen,” she hangs up and gives an exaggerated “Ughhhhh”. She takes one large gulp, finishing the last of her ultra sweet, ultra whipped frappuccino. “It’s like they can’t do anything when I’m not there.” She looks especially apologetic when her eyes land back on you, “I’m so sorry I have to cut this short…”

“Hey it’s ok! Duty calls ya know,” you give her a reassuring grin, hoping it passes for a smile instead of a grimace. You were really hoping to hang out today.

“No it’s not ok. We didn’t even get to walk around today! And I know how much you like to do that.” She stands up, slipping her purse onto her shoulder, “so next time I’ll plan a day where I guarantee I won’t get interrupted. It’s the least I can do.”

“Mk sounds good babe,” you give her a big hug, “Go get ‘em tiger!”

After she exits the cafe you finish the last bit of your coffee and glance out the window, staring at the people on the beach. Wow it’s really crowded down there today. You zone in on two kids attempting to build a sandcastle, but it’s too close to the water so the waves flatten it in two seconds. But it seems they didn’t learn their lesson because they keep rebuilding the castle in the same spot. Just move it further up little dudes.

You find yourself lost in thought again. Just because Karli’s suddenly busy doesn’t mean you don’t still have a whole day to yourself. You can walk around on your own. Also why not treat yourself to another drink? A fun one this time from their specials menu.

Ten minutes later you find yourself wandering around the various shops, hot hazelnut latte in hand, gazing at display after display of designer clothes and bags. Look, you may not be a huge fashion person, or have any expendable cash, but a girl can still appreciate art, especially when it’s laid out so nicely in front of you. 

Speaking of art, there’s an art gallery coming up that you absolutely love. You’ve always been too afraid to go inside because you’re the type of person who feels obligated to buy something if you enter a local store and you DEFinitely can’t afford anything there. So you opt to loiter outside, like some creep, looking a little too long at the featured art through the window. This time it’s an Impressionist style painting of a ship on hazy waters with a sunset in the background. You’re no artist but you can appreciate good quality work when you see it. The piece is mesmerizing and serene, transfixing you to the spot. Before you know it, you’ve been staring for 15 whole minutes.

While admiring the artist’s use of color on the display piece, you overhear a lady raising her voice not too far away, snapping you out of your trance. It sounds like drama, so being the nosy bitch that you are, you’re definitely gonna check it out, if only to satisfy your curiosity.

“What do you mean ‘no’?! You’ll be perfect for each other!! Where’s your owner I bet he’ll listen!” At this point the lady’s voice is sounding downright aggressive.

As you shuffle closer to the scene of the noise, you spot a middle-aged, blonde lady pointing her finger at two hybrid men, almost jabbing one of them in the chest with her sharp, ruby nails. Behind her stands a gorgeous female arctic fox hybrid who clearly belongs to her as she pats her owner’s shoulders, trying to calm her down.

“I’m sorry miss but we just aren’t interested.” The taller of the two hybrids with orange hair speaks up, gently pushing the lady’s hands away. “Please leave us alone.” He’s being surprisingly calm, even after getting yelled at in public.

“Yeah lady get out of our faces,” the other white and grey haired hybrid is definitely more agitated, crossing his arms as he huffs in annoyance. You don’t blame him since the blonde lady is being ridiculously rude.

You can’t really make out the two males’ faces, since they’re turned away from you, but they are obviously hybrids. Both having incredibly bushy, soft-looking tails and tall, pointy ears sticking out of their heads.

Even if you can’t see their expressions, you can tell they’re uncomfortable with the harassment. Since you’re still somewhat unaware of the context, you stay out of the argument but decide to keep an eye on the situation in case the lady steps out of line. You’re just slightly around the corner, able to stay a safe distance away so that no one, especially the lady, can catch you eavesdropping. Pretending to admire the Gucci purses displayed in front of the shop you’re now standing at, and almost choking at the price, you cautiously side-eye blondie as she refuses to back down from the hybrid boys.

“Listen here you rude little pets, I’m not leaving you alone until I see your owner. My Sylvia here,” she gestures to the fox hybrid behind her, “would make a perfect partner for you.” She pokes the orange haired hybrid again, “I’ve been searching so long for her to find a mate and I’m not giving you up! Now where the hell is your owner!”

What the fuck?! How dare this lady talk to them like that? And in public no less! You now know exactly why she’s yelling at them. Working at a private hybrid clinic has opened your eyes to the harsh world of hybrids, and their selfish, rich owners. It’s not uncommon for owners to negotiate with each other and breed their hybrids. If two pretty hybrids mate, their children can be sold for loads of money. It's cruel and disgusting, with many of the children sold off before they can even get to know their parents. You’re all too familiar with this tradition, often catching owners in the waiting room of your clinic discussing in whispers about buying and selling hybrid children as if they’re livestock.

“Hey what the fuck did you call us?!” The white and grey hybrid is now also raising his voice. “Listen you wrinkly bi…!” He is quickly silenced by the orange hybrid, who abruptly clamps his hand over his buddy’s mouth.

Orange hair clears his throat. “What he means is, we don’t appreciate the tone you’re using with us. Please leave us alone ma’am. We’ll be on our way. Goodbye.” They attempt to brush past her.

“Hey hold on a minute! I’m not done with you!!” This lady even has the balls to grab onto orange hair’s arm. “I demand to speak to your owner!” Then some sort of realization dawns upon her because her eyes go wide, then quickly narrow. “And where are your collars? Aren’t owned hybrids supposed to have collars on? You know I just might have to call Hybrid Services.” 

You can see the boys visibly tense at her words as she sports a satisfied smirk. Poor Sylvia is now gently tugging on her shirt. “Please calm down, miss…” she says desperately trying to remedy the situation.

Before you know it, and without any plan of action, you round the corner and march up to the boys, standing defensively in front of them.

“Um…” You gulp, then clear your throat, speaking in what you hope is a more confident tone. “Sorry I took so long guys! You wouldn’t believe the line at the coffee shop!”

Next

[qraydeavister]

parc central residences condo

Since the dramatic events of 9/11, Bollywood cinema has shown an unusual interest in the terrorist film genre, especially as regards to international terrorism and global tensions between Islam and the West. Striking examples of this genre include Kabir Khan's New York (2008), Karan Johar's My Name is Khan (2010), Rensil D'Silva's Kurbaan (2009) and Apoorva Lakhia's Mission Istanbul, to name a few. Films like Anil Sharma's Ab Tumhare Hawale Watam Sathiyo (2004) and Subhash Ghai's Black and White (2008) focus on terrorist issues within the Indian subcontinent itself. The latter films have continued in the tradition of pre 9/11 terrorist films like Vidhu Vinod Chopra's Mission Kashmir (2000), Mani Ratnam's Dil Se (1998) and Bombay (1995). Ratnam's Bombay dealt with the devastating Hindu and Moslem riots in 1991, which cost over a 1000 lives. Chopra's Mission Kashmir dealt with a scenario of local terrorist activity in the Kashmir region sponsored by international terrorist cells working from Afghanistan. In this way the terrorist genre is not an entirely new genre in Bollywood, nor is terrorism an unfamiliar phenomenon in the day to day activities of the Indian subcontinent (the most recent and brutal terrorist attack was the Mumbai massacre in 2008). What makes the recent spate of terrorist films interesting is that they have entered the global sphere and have become part and parcel of a transnational dialogue between East and West and Islam and the other.

To make the terrorist genre more palatable, Bollywood has traditionally spiced up the violence and suspense with the hallmark Bollywood song and dance interludes and sentimental romantic parc central residence tampines  exchanges between the hero and heroine. Mission Kashmir is notorious for its graceful dances and stirring emotional exchanges between the main protagonists, played out on the violent backdrop of terrorism in Kashmir. Mani Ratnam's Bombay likewise mixes up the most brutal scenes of Hindu and Moslem hatred and violence with delicious comedy and a forbidden love affair between a pious Moslem girl and a boy from a highly placed Shaivite Hindu family. His father is the trustee of the village temple and both the family patriarchs are violently opposed to the children marrying outside their caste and religious community.

Karan Johar's My Name is Khan

Following in the Bollywood tradition of mixing genres (known in the industry as the masala or spicy recipe film), Karan Johar's My Name is Khan blends comedy and romance with the political hot potato of post 9/11 bigotry and racial hatred in the US. The film's theme of ultra-nationalist extremism culminates in the senseless killing of a young Indian boy Sam or Sameer, who is beaten to death by youths in the football ground, in part due to the adopting of his stepfather's name Khan. Overflowing gushes of emotion and heart stirring romantic songs, such as the mixing of the 1960's counter culture anthem "We Shall Overcome" (sung in both Hindi and English), occur throughout the film to both lighten the tension and to exemplify the presence of light and hope in a world darkened by the bitter shadow of global terrorism. The fact that the central protagonist Rizvan Khan is a pious Moslem, and politically neutral to the hysteria of the debate, is significant. Brought up by his mother that there are no fixed labels such as Hindu and Moslem, but only good and bad people, Rizvan Khan freely practises his religion with equal love and respect for all other races and creeds, only differentiating between what is in the hearts and minds of people, not to what religion they profess, or to what race, culture and nationality they belong.

My Name is Khan is also significant for Bollywood fans in that it reunites the biggest heart throb couple of Hindi cinema from previous decades, Kajol and Shah Rukh Khan. The duo was previously paired in two of Karan Johar's earlier blockbusters Kuch Kuch Hota Hai (1995) and Kabhi Kushi Kabhie Gham (2001). Both of these films were sentimental gushy romances, literally overflowing with juicy outpourings of emotion and feeling; a phenomenon which is termed rasa in India. The song and dance sequences were also very elaborately staged and combined a balance of the traditional Indian music and dance forms (Hindustani music and traditional folk dances) as well as modern Western forms. This ensured the films' immense popularity in both India and diaspora countries like Canada, the US and the UK.

Karan Johar continues to utilise the Bollywood masala formula in My Name is Khan, exploiting a sentimental and occasionally drawn out love affair between the autistic hero Rizvan Khan and his eventual Hindu wife Mandira, a proprietor of a successful hair dressing salon in San Francisco (the "city of love" which symbolizes the 1960s counter culture movement exploited by Johar in the "We Shall Overcome" sequence). In the preliminary scenes of the film, America is portrayed as the land of freedom and opportunity, the nation where all races and religions are given the possibility to move forward and achieve prosperity and happiness in a way that is seen to be almost impossible in a country like traditional India, buffeted as it is with caste and religious prejudices and between half and two thirds of its population living in poverty.

For foreign nationals or NRI's (non-resident Indians), however, 9/11 radically changes this formula and shatters the American dream nurtured for decades by an Indian diaspora which has merged its Indian cultural roots with American ideals of individual freedom and consumer prosperity. According to Johar's film, this is now the plight of the Khans who, instead of continuing to act as fully integrated members of the mainstream community, now suddenly find themselves on the periphery of a post-9/11"us and them" rhetoric, fuelled by an ultra-nationalist Republican President, who perceives the world in black and white realities, which have little to do with the everyday lives of the average individual. It is no coincidence that it is the newly elected President Barack Obama (played by his look alike Christopher B. Duncan) who greets Rizvan Khan at the end of the movie and applauds him for his faith in God and his humanity and perseverance. For Karan Johar, Obama's election is symbolic of the "us and them" divisions in the US psyche being brought to a close along with the restoration of the innate ideals for which the American Republic and its people stand.

Before the nation's divisions are healed, however, the Khan's experience extreme personal hardships due to their ethnicity. These hardships culminate in the tragic death of their teenage son Sameer, beaten to death in the school playing field by racist youths. In her grief, Sameer's mother Mandira blames her husband Rizvan, accusing him of the fact that if she and her son had not taken the name of Khan, he would not be dead. She then tells him that the only way he can atone for this stigma of being a Khan and, by implication a Moslem, is to meet the US President (at the time it is George W. Bush) and to tell him that: "My Name is Khan and I am not a Terrorist." This simple phrase becomes a kind of mantra throughout the film, powerfully confronting the viewer's post-9/11 prejudices by refusing to link the two concepts of Islam and terrorism together: i.e. my name is Khan, therefore I am a Moslem, but at the same time just because I am a Moslem, does this mean that I am a terrorist? Unhappily, during the hysteria that followed in the wake of 9/11 for many Westerners the two terms, Moslem and terrorist became pretty much synonymous.

[jorjdsfeadle-blog]

mainly as regards to international terrorism

worldwide tensions between Islam and the West. Striking examples of this style encompass Kabir Khan's New York (2008), Karan Johar's My Name is Khan (2010), Rensil D'Silva's Kurbaan (2009) and Apoorva Lakhia's Mission Istanbul, to name a few. Films like Anil Sharma's Ab Tumhare Hawale Watam Sathiyo (2004) and Subhash Ghai's Black and White (2008) consciousness on terrorist problems in the Indian subcontinent itself. The latter films have continued inside the subculture of pre 9-11 terrorist movies like Vidhu Vinod Chopra's Mission Kashmir (2000), Mani Ratnam's Dil Se (1998) and Bombay (1995). Ratnam's Bombay treated the devastating Hindu and Moslem riots in 1991, which value over a one thousand lives. Study in Canada after Graduation Chopra's Mission Kashmir dealt with a situation of neighborhood terrorist activity inside the Kashmir location sponsored by global terrorist cells operating from Afghanistan. In this manner the terrorist style is not a wholly new style in Bollywood, nor is terrorism an strange phenomenon in the day to day sports of the Indian subcontinent (the maximum current and brutal terrorist assault was the Mumbai bloodbath in 2008). What makes the current spate of terrorist movies thrilling is that they have entered the global sphere and have emerge as component and parcel of a transnational talk between East and West and Islam and the opposite.

To make the terrorist style extra palatable, Bollywood has traditionally spiced up the violence and suspense with the hallmark Bollywood music and dance interludes and sentimental romantic exchanges among the hero and heroine. Mission Kashmir is infamous for its swish dances and stirring emotional exchanges between the primary protagonists, played out on the violent backdrop of terrorism in Kashmir. Mani Ratnam's Bombay likewise mixes up the maximum brutal scenes of Hindu and Moslem hatred and violence with scrumptious comedy and a forbidden love affair between a pious Moslem woman and a boy from a highly positioned Shaivite Hindu circle of relatives. His father is the trustee of the village temple and each the family patriarchs are violently opposed to the youngsters marrying out of doors their caste and non secular community.

Karan Johar's My Name is Khan

Following inside the Bollywood lifestyle of blending genres (known inside the enterprise because the masala or highly spiced recipe movie), Karan Johar's My Name is Khan blends comedy and romance with the political hot potato of post Sep 11 bigotry and racial hatred inside the US. The film's theme of ultra-nationalist extremism culminates in the senseless killing of a younger Indian boy Sam or Sameer, who's overwhelmed to dying with the aid of youths within the soccer ground, in part due to the adopting of his stepfather's name Khan. Overflowing gushes of emotion and coronary heart stirring romantic songs, inclusive of the integration of the 1960's counter tradition anthem "We Shall Overcome" (sung in both Hindi and English), arise at some point of the film to both lighten the tension and to exemplify the presence of light and hope in a global darkened with the aid of the bitter shadow of world terrorism. The truth that the imperative protagonist Rizvan Khan is a pious Moslem, and politically impartial to the hysteria of the debate, is considerable. Brought up by using his mom that there aren't any constant labels including Hindu and Moslem, however best good and bad human beings, Rizvan Khan freely practises his religion with identical love and admire for all other races and creeds, simplest differentiating among what is within the hearts and minds of humans, now not to what religion they profess, or to what race, culture and nationality they belong.

My Name is Khan is also considerable for Bollywood fanatics in that it reunites the most important heart throb couple of Hindi cinema from preceding decades, Kajol and Shah Rukh Khan. The duo was previously paired in of Karan Johar's in advance blockbusters Kuch Kuch Hota Hai (1995) and Kabhi Kushi Kabhie Gham (2001). Both of these movies had been sentimental gushy romances, literally overflowing with juicy outpourings of emotion and feeling; a phenomenon which is termed rasa in India. The song and dance sequences were also very elaborately staged and blended a stability of the traditional Indian music and dance forms (Hindustani tune and traditional folk dances) in addition to contemporary Western forms. This ensured the movies' immense reputation in both India and diaspora countries like Canada, the USA and the UK.

Karan Johar continues to utilise the Bollywood masala formula in My Name is Khan, exploiting a sentimental and once in a while drawn out love affair between the autistic hero Rizvan Khan and his eventual Hindu spouse Mandira, a proprietor of a a hit hair dressing salon in San Francisco (the "town of love" which symbolizes the 1960s counter lifestyle motion exploited through Johar inside the "We Shall Overcome" sequence). In the preliminary scenes of the movie, America is portrayed because the land of freedom and opportunity, the nation wherein all races and religions are given the opportunity to move forward and gain prosperity and happiness in a way that is visible to be nearly not possible in a rustic like conventional India, buffeted as it's miles with caste and non secular prejudices and between half of and two thirds of its population living in poverty.

For overseas nationals or NRI's (non-resident Indians), however, Sept. 11 radically adjustments this formulation and shatters the American dream nurtured for decades by using an Indian diaspora which has merged its Indian cultural roots with American beliefs of person freedom and patron prosperity. According to Johar's film, this is now the plight of the Khans who, instead of persevering with to act as fully included contributors of the mainstream community, now find themselves at the outer edge of a post-9-11"us and them" rhetoric, fuelled through an ultra-nationalist Republican President, who perceives the sector in black and white realities, that have little to do with the ordinary lives of the average character. It isn't any accident that it's miles the newly elected President Barack Obama (played by means of his appearance alike Christopher B. Duncan) who greets Rizvan Khan on the quit of the film and applauds him for his faith in God and his humanity and perseverance. For Karan Johar, Obama's election is symbolic of the "us and them" divisions within the US psyche being delivered to a close in conjunction with the restoration of the innate beliefs for which the American Republic and its people stand.

Before the nation's divisions are healed, however, the Khan's revel in intense non-public hardships due to their ethnicity. These hardships culminate within the tragic death in their teenage son Sameer, overwhelmed to death in the school playing field by way of racist youths. In her grief, Sameer's mother Mandira blames her husband Rizvan, accusing him of the truth that if she and her son had not taken the call of Khan, he would now not be dead. She then tells him that the handiest way he can make amends for this stigma of being a Khan and, by means of implication a Moslem, is to fulfill the United States President (at the time it's miles George W. Bush) and to inform him that: "My Name is Khan and I am now not a Terrorist." This easy phrase turns into a form of mantra throughout the film, powerfully confronting the viewer's post-September 11 prejudices by way of refusing to link the two standards of Islam and terrorism together: i.E. My call is Khan, therefore I am a Moslem, however on the identical time just because I am a Moslem, does this mean that I am a terrorist? Unhappily, for the duration of the hysteria that followed inside the wake of September 11 for many Westerners the two terms, Moslem and terrorist became quite plenty synonymous.

This is a movie consequently which, in contrast to its predecessors, isn't always simplest aimed at teaching Indians and West Asians (it broke all data in Pakistan), however is also geared toward teaching and enlightening Westerners. This it does in a completely diffused and didactic way, no longer simplest thru its exploitation of acquainted West Asian icons, however additionally thru its exploration of issues and photographs established to the USA and the West: the 1960s counter way of life, the plight of the coloured people in the South and references to the civil rights movement through the film's subject matter tune "We Shall Overcome." This well-known anti-establishment song from Sixties when sung in Hindi via a religious Moslem in a black gospel church offers the target audience an nearly surreal feeling of each merging and, at the equal time transcending, national, racial and socio-spiritual cultural borders: a direction to global brotherhood and solidarity which has been courageously expounded via of the 20th century's brilliant non secular leaders, India's Mahatma Gandhi and America's Martin Luther King.

Karan Johar therefore attracts upon both the Western ideals of liberty and individualism, as well as propounding the roots of West Asian non secular piety and communal solidarity. By doing this My Name is Khan proposes an alternate version of worldwide brotherhood and transnational identities and exchanges. This new worldwide model for Johar is one that attracts its notion and ideals from the grass roots level- from the terrible coloureds of Georgia, from the socially ostracised Moslems, and from the autistic and mentally handicapped. All of them are an integral a part of this international humanity and in the end the parent of Shah Rukh Khan, the most important megastar in the worldwide forum today (such as Hollywood), speaks for all of them, when he says my call is Khan and I am not a terrorist, now not an outcaste and now not a hazard to the US or the crucial values which it seeks to export to the relaxation of the sector. Rather, as pious Moslems, those like Rizvan Khan have some thing of value to contribute to america and the West, and while the ones in strength allow them to do so, the vital values which have made the US excellent can no longer most effective be maintained however extended and broadened. On the other hand, ultranationalist extremist practises will handiest create increasingly hatred and division, in order that even the ones who have assimilated the American Dream will grow to come to be its maximum sworn enemies. This is the main topic of Kabir Khan's New York, which I will briefly discuss in part of this article.

Kabir Khan's New York

Although now not as a hit on the box workplace as Karan Johar's blockbuster, Kabir Khan's New York is possibly an even more exciting example of the transnational trend in the Bollywood terrorist genre. Released in 2008, New York makes a speciality of the lives of three brand new young Indians analyzing at New York State University together. The usual Bollywood masala romance dominates the first 1/2 of the movie, specializing in a sentimental love triangle between Maya (Katrina Kaif), Sameer or Sam (John Abrahams) and Omar (Neil Mukesh). Both Katrina Kaif and John Abrahams, in addition to Irrfan Khan (gambling the FBi agent Roshan) are properly installed stars in Bollywood (Irrfan Khan also starred as the policeman who interrogates the primary protagonist in Slumdog Millionaire). And the presence of these stars, along with the solid musical score and the dramatic love triangle situation, assured the film's success despite its debatable subject. Significantly, Sam and Maya fall in love and shatter Omar's emotional world at around the same time as the two hijacked passenger planes are driven into the Twin Towers. As with My Name is Khan, real pictures of the terrorist attack at the World Trade Centre is utilised in the film.

From this factor onwards, a film which has been mainly concentrated upon a sentimental love conflict between three friends now becomes a political indictment of the Bush administration's post-9/11 terrorist policies. Sam, as part of the FBI's nationwide hunt for terror suspects, is arrested, incarcerated and tortured. These tortures are graphically depicted within the film and are apparently primarily based on actual life debts of harmless victims, who have been illegally arrested and incarcerated for no other purpose than their having the wrong ethnic historical past and spiritual persuasion. During the final credits a grim word to this impact informs the visitors of the records that: "In the days following 9-11 greater than 1200 guys of overseas origin within the US had been illegally abducted, detained and tortured for as lengthy as three years. The government did not discover proof linking a unmarried one among them to the 11th of September assault.

[abigail55]

Exploring the Rich Tapestry of Hindustani Cinema: A Cultural Odyssey

Hindustani cinema, often synonymous with Bollywood, is a vibrant and diverse film industry that has captivated audiences worldwide for decades. With its roots deeply embedded in Indian culture, Hindustani cinema has evolved into a powerful medium of storytelling, blending elements of drama, romance, music, and dance. This article delves into the rich tapestry of Hindustani cinema, tracing its origins, evolution, and enduring impact on global cinema.

Origins and Evolution:

The origins of Hindustani cinema can be traced back to the early 20th century, with the release of India's first silent film, "Raja Harishchandra," directed by Dadasaheb Phalke in 1913. This groundbreaking film marked the beginning of a new era in Indian cinema, paving the way for the growth and development of the industry.

Over the years, Hindustani cinema has undergone significant evolution, transitioning from silent films to talkies and from black-and-white to color. The golden era of Hindustani cinema, spanning the 1950s and 1960s, saw the emergence of legendary filmmakers such as Guru Dutt, Raj Kapoor, and Bimal Roy, who created timeless classics that continue to be revered today.

The 1970s and 1980s witnessed the rise of the "masala" film genre, characterized by its mix of romance, action, comedy, and melodrama. Filmmakers like Manmohan Desai and Prakash Mehra became synonymous with this style of filmmaking, churning out blockbuster hits that entertained audiences across the country.

In the 1990s, Hindustani cinema underwent a transformation with the emergence of a new wave of filmmakers such as Aditya Chopra, Karan Johar, and Sanjay Leela Bhansali, who introduced fresh narratives and innovative storytelling techniques. This period also saw the rise of independent cinema, with filmmakers like Anurag Kashyap and Vishal Bhardwaj pushing the boundaries of conventional storytelling.

Contemporary Landscape:

Today, Hindustani cinema occupies a prominent place on the global stage, with films like "Lagaan," "Slumdog Millionaire," and "Gully Boy" garnering critical acclaim and international recognition. The industry continues to evolve, embracing new technologies and experimenting with diverse genres and narratives.

One of the defining features of Hindustani cinema is its emphasis on music and dance. Songs and dance sequences are integral components of most Indian films, serving as vehicles for emotional expression and storytelling. From classical Kathak performances to high-energy Bollywood numbers, Hindustani cinema offers a kaleidoscope of musical and choreographic styles.

Moreover, Hindustani cinema reflects the cultural diversity of India, with films being produced in various languages and dialects. While Hindi films dominate the industry, regional cinemas such as Marathi, Bengali, Tamil, and Telugu cinema also enjoy widespread popularity, producing a diverse range of films that cater to local audiences.

Themes and Narratives:

Hindustani cinema explores a wide range of themes and narratives, reflecting the socio-political landscape of India. From romantic sagas set against the backdrop of majestic palaces to gritty dramas depicting the struggles of everyday life, Indian films offer a panoramic view of society, its aspirations, and its challenges.

Family dramas, with their emphasis on relationships and traditions, remain a staple of Hindustani cinema. Films like "Kabhi Khushi Kabhie Gham" and "Hum Aapke Hain Koun..!" celebrate the bonds of family and the importance of love and unity.

Historical epics, such as "Jodhaa Akbar" and "Bajirao Mastani," transport audiences to bygone eras, bringing to life the grandeur and romance of India's rich cultural heritage. These films often feature elaborate sets, opulent costumes, and epic battle sequences, capturing the imagination of viewers with their visual splendor.

Socially relevant films tackle pressing issues such as poverty, corruption, and gender inequality, shedding light on the harsh realities faced by millions of Indians. Movies like "Peepli Live" and "Pink" confront uncomfortable truths and challenge societal norms, sparking important conversations about justice and equality.

Furthermore, Hindustani cinema has embraced genre-bending films that defy categorization. Movies like "Andhadhun" and "Stree" blend elements of comedy, thriller, and horror, keeping audiences on the edge of their seats with their unpredictable plots and twist endings.

Global Influence:

Hindustani cinema's influence extends far beyond India's borders, captivating audiences in countries around the world. Indian films have a dedicated fan base in countries such as the United States, the United Kingdom, and the Middle East, where Bollywood stars enjoy celebrity status and films are eagerly awaited and celebrated.

The global success of films like "Dilwale Dulhania Le Jayenge" and "3 Idiots" has helped popularize Hindustani cinema on an international scale, introducing audiences to the magic and charm of Indian storytelling. Moreover, the proliferation of streaming platforms has made Indian films more accessible than ever, allowing viewers from diverse backgrounds to discover the richness and diversity of Indian cinema.

Conclusion:

In conclusion, Hindustani cinema is a vibrant and dynamic industry that continues to captivate audiences with its rich storytelling, colorful characters, and unforgettable music. From its humble beginnings in the early 20th century to its current status as a global phenomenon, Indian cinema has come a long way, embracing innovation while staying true to its cultural roots.

As the industry continues to evolve, one thing remains constant: the enduring appeal of Hindustani cinema and its ability to transport audiences to worlds of fantasy, romance, and adventure. Whether it's a lavish musical extravaganza or a gritty drama exploring the depths of the human condition, Indian films have something for everyone, making them a cherished part of global cinematic heritage.

[sadiyazhar]

Comedy Masala Returns with Season 4

Comedy Masala Returns with Season 4

Comedy Masala is going to showcase yet another set of shows with some new international stand up comedians. This is going to be their 4th Season of the series. I have been a regular at their shows and trust me, it only gets better! The best part about #ComedyMasala is that every time you get to experience new artists performing in front of live audience. These artists come from US, UK, Singapore,…

[bookzoneinfotainment-blog]

New Release Book Title Lessons Life Taught Me, Unknowingly: An Autobiography By Anupam Kher (Author) An extraordinary, riveting and no-holds-barred saga studded with fascinating behind-the-scenes revelations, anecdotes and rare nuggets of lessonsAnupam Kher’s life story is nothing short of a grand masala box office hit. It has drama, comedy, romance and even action! Who knew that a small-town Shimla boy would one day become one of the most recognized actors in the world and go on to win various national and international awards for his contribution in the field of cinema and arts? A powerhouse of talent with over 530 films (and counting) in his repertoire, Anupam Kher stands out not only because of his iconic bald head, but also for his forthright views and opinions, however controversial they may be. He has always been distinct and offbeat. His autobiography is, too . . . for it is not just another chronological account of his life. It is, in fact, also peppered with incredible life lessons that are bound to resonate with every aspiring artiste and, most of all, the common man. Here is a kaleidoscopic peep into the life and times of a true genius and forever entertainer. New & Future Releases Best-selling books | (Literature & Fiction) | Buy Books online at https://bookzone.in/subject/9789388302043-lessons-life-taught-me-unknowingly-an-autobiography-anupam-kher-hay-house-india-autobiography-9388302044-978-9388302043-9789388302043/ Bookzone : For More details Email us - mail@bookzone.in Call or whats app - +91 7738588170 website - www.bookzone.in #followme #like4like #TFLers #liker #likes #l4l #likes4likes #photooftheday #love #likeforlike #likesforlikes #liketeam #likeback #likebackteam #instagood #likeall #likealways #liking #liked#comment #comment4comment #TFLers #c4c #commenter #comments #commenting #love #comments4comments #instagood #commentteam #commentback #commentbackteam #commentbelow #photooftheday #commentall #commentalways #pleasecomment (at Bookzone) https://www.instagram.com/p/B11JmRQnb4M/?igshid=9td8xuszqq1

[nntheblog]

12 Movies Like Wedding Season You Must Watch

We know why you are looking for movies like Wedding Season. Netflix’s Wedding Season is directed by Tom Dey and is a romantic comedy film that made the viewers fall in love with love once more. It is set mostly in New Jersey. The story follows Asha Maurya, Ravishankar Shah, and their relationship. Asha ended her engagement and moved to New Jersey. She now works for an international loan program that helps women from Southeast Asia. Ravi, on the other hand is a DJ and their interfering parents connect them by establishing accounts through a dating site. These movies are similar to Wedding Season if you liked the film. Many of these movies, including Wedding Season, are available on multiple streaming sites so that you can easily find them. 12. The Hundred Foot Journey (2014) Based on the 2010 namesake book by Richard C. Morais, ‘The Hundred-Foot Journey’ is a celebration of the universality of food. A Muslim Konkani Kadam clan immigrates to Europe from India. They end up in southern France where they open a restaurant that serves Indian cuisine opposite a Michelin-starred French restaurant owned by Madame Mallory (Helen Mirren). Madame Mallory and Om Puri, the patriarch of the Indian families (Om Puri), start to have a dispute. Madame Mallory soon realizes the full potential of Hassan (the second-oldest son) and takes him under her wing. While ‘Wedding Season’ is a romantic comedy and ‘The Hundred-Foot Journey’ is about food, both movies are informed by uniquely Indian experiences. Asha and Hassan’s families have struggled and endured in the past so they can thrive in the present. 11. Mississippi Masala (1991) Directed by Mira Nair, and set against the backdrop of the Indian exodus from Uganda during the reign of Idi Amin in the 1970s, ‘Mississippi Masala’ is a remarkable film that tells the story of a family’s journey across several continents after everything has been taken from them. Jay (Roshan Seth), his wife Kinnu (Sharmila Tagore), and their daughter Mina (Sarita Choudhury) are forced to leave their home in Kampala, Uganda, when Amin’s policies go into effect. After moving to England, they settled in Greenwood (Mississippi). Mina falls in love (Denzel Washington) with Demetrius, a local African American teenager who runs a carpet cleaning company. Like the relationship between Nick and Priya in ‘Wedding Season,’ Mina and Demetrius’ romance addresses the ingrained prejudice in the community. 10. The Royal Treatment The Royal Treatment This film, as many have said, epitomizes what an ideal rom-com should look like: loving and caring leads, beautiful and surreal places and events, and a predictable story. It is, in fact, one of the best movies like Wedding Season. What made this film so remarkable was that there wasn’t really anyone to dislike, in short, you’d be pulling for the pair from the start, with very little going against them. 9. Falling Inn Love Falling Inn Love Falling Inn Love is a Hollywood romantic comedy. It tells the story about a woman who loses her job, but finds a place to stay in rural New Zealand. This movie is similar to Wedding Season. Although the people of that area are very welcoming, she soon discovers that the inn was in serious financial trouble. She teams up with a contractor to help her, and the rest is about her relationship with him. It’s a basic film with nothing to brag about and a few hilarious comic scenes, and Christina Milian’s portrayal first appears to be Geet from Jab We Met on drugs, but her character arch constructed in a manner that sinks in. Adam Demos, Adam's male lead, is charmed and does exactly what the script requires. 8. Say Goodbye to All Things Between Goodbye and Hello, All! Netflix published To All The Boys I’ve Loved Before, a smash hit that turned leads Noah Centineo and Lana Condor into in-house stars, and produced sweet movie magic the system has been trying to chase ever since. The basic romance works, the alchemy is more than the sum of its parts and the short story clocks in at 82 minutes for Hello Goodbye and Everything in Between, and the show’s reference-heavy conversation is more than halfway plausible, so it is definitely among the best movies like Wedding Season. 7. Rich in Love Rich in Love The Odoms, the characters of Bruce Beresford’s novel Rich in Love, dwell in a beautiful old Southern estate surrounded by balconies and trees and easy living, so it is one of the movies like Wedding Season. It seemed like everything was going well until Warren Odom returned home to discover that his wife had left him. The life goes on, Warren and Lucille continue to search the county for the missing women, but Warren is able to find refuge in the warm arms and delicious baked goods of a local lady. Then Lucille’s elder sister and her new husband arrive, deciding to stay for a bit in Rich in Love. Rich in Love is a great movie to watch if you're looking for Wedding Season. 5. Outsourced (2006) Todd Anderson (Josh Hamilton), is a salesperson at Seattle's novelty products company. His entire department is outsourced, and he realizes that he has to go to India in order to keep his job. Todd, often called Mr. Toad in India by his Indian colleagues, initially resents his sudden fate. However, the more time he spends with India, the more he falls for it. In both ‘Wedding Season’ and ‘Outsourced,’ different facets of Indian culture are explored and celebrated. However, unlike ‘Wedding Season’ and most entries in this list, ‘Outsourced’ is set in India. 4. American Desi (2001). Krishnagopal “Kris” Reddy has spent his entire life in America and feels completely disconnected from his heritage. Kris learns that all of his Rutgers University roommates were Indians when he enrolls. They all hail from India with one exception. Kris doesn't have much time to explore his Indian heritage at first, but that changes when he meets Nina who is also from India. Kris quickly discovers that Nina is a strong connect to Indian culture and traditions, which is something that he does not share. Kris seeks out the support of his roommates to win her love. Like ‘Wedding Season,’ ‘American Desi’ is a classic romantic comedy set against the backdrop of the Indian American community. 3. Meet the Patels (2014) ‘Meet the Patels’ is a delightfully quirky documentary that encapsulates the very themes present in ‘Wedding Season.’ Siblings Geeta Patel and Ravi Patel direct the hilarious documentary in which they are the subject of their parents’ concern as neither of them is married. Ravi was secretly in a relationship with a white woman called Audrey. However, they split up recently. He agrees to his parents’ suggestion to find an Indian partner. The process involves traveling to India during the wedding season, distributing his “biodata” among relatives, registering on marriage websites, and looking for prospective candidates at different ceremonies. 2. The Tiger Hunter (2016) ‘The Tiger Hunter’ follows Sami Malik (Danny Pudi), the son of a renowned tiger hunter, who comes to America seeking to make a life for himself in Chicago in 1979. Sami soon realizes that his engineering education from India doesn't matter in the US. He is forced to work in an electronics factory as a draftsman and lives with other similarly disillusioned, under-employed South Asian men. Sami learns from his roommates that Ruby Iqbal, his childhood love, is moving to America to marry a man of Indian descent. Like ‘Wedding Season,’ ‘The Tiger Hunter’ depicts what can be construed as a uniquely Indian American experience. 1. The Namesake (2006) Based on the 2003 novel of the same name by Jhumpa Lahiri, ‘The Namesake’ is Nair’s attempt to delve deep into the Indian American identity (Bengali American, to be precise). Nikhil “Gogol” Ganguli (Kal Penn) and his sister Sonia (Sahira Nair) are American-born children of Ashoke (Irrfan Khan) and Ashima Ganguli (Tabu). Nikolai Gogol, the Russian author gave Gogol his unusual nickname. What is supposed to be a nickname becomes Gogol’s official birth name due to a series of mishaps, and this, in turn, goes on to affect different aspects of his life. For most of his adult life, Gogol felt little connection to his Indian heritage. However, that changes after his father’s death from a massive heart attack. Although ‘Wedding Season’ is a romantic comedy, it has its share of dramatic moments that address themes such as immigration, identity, and the perpetual search for a balance between tradition and assimilation, elements that are present in ‘The Namesake’ as well. Read the full article

[filmygossipnews]

Online Portal for Bollywood News and Updates

Bankofbollywood is an online portal and a source of entertainment news from Bollywood - the Hindi film industry in India. With our breaking news coverage and extensive content, we have become one of the most reliable sources for all kinds of entertainment news in India.

We bring you the latest entertainment news from Bollywood, TV, music and more. Our team of dedicated journalists are always updating us with the latest happenings in this multi-billion industry. We have been in business since 2003 and thus far have provided top entertainment news services to both Bollywood Stars themselves as well as their fans across India.

NIE is one of the most popular and trusted entertainment news websites in India. We provide Bollywood celebrity lifestyle news content and Bollywood movie news.

Bollywood Actor News: 

Bollywood is a culturally rich film industry that accounts for approximately 70% share of Indian films. It has been called a 'Kam-like industry' after the Hindi word meaning theatre. Its films have been termed as 'Hindi cinema'. Actors are central to this industry and have enjoyed high levels of fame, adulation, and controversy via their on-screen roles.

Bollywood Movies News: 

There are many categories of popular Indian films like romance, comedy, filmy gossips, horror and action but it's a phrase like 'masala' that's synonymous with Hindi cinema in general.

The article offers a summary of the most popular news in India. It talks about the terrible floods that have killed over 200 people and caused billions of dollars worth of damage. The article also discusses the release date of Bollywood movies and it’s effect on movie-goers across the country.

As one of the largest entertainment news platforms in India, we provide top news and entertainment around Bollywood movies and their actors with our exclusive Bollywood news stories. Our writers keep a close eye on the trending topics in order to help you stay up to date on your favorite actress or actor!

Entertainment News Platform

A website which has its own team of writers and publishes posts from time to time about latest Bollywood news, Bollywood celebrity lifestyle news, gossip, updates on a movie or actor. It provides content to readers.

Bollywood Actors News- Provides news about Bollywood actors latest movies and scandals.

For instance, we provide top Bollywood celebrity news in India.

Top entertainment websites in India provides the latest in Bollywood, Hollywood and International Movie News from some of the renowned sources across the world.

We provide top entertainment news in India.

We have a team of dedicated and talented journalists who are constantly on the lookout for interesting stories, and that is how we can ensure that we offer the best entertainment news coverage in India.

Entertainment websites in India is a fast growing industry with various players and sectors. The main players in this industry are newspapers and TV channels.

Bollywood Actor News:

An actor walks out of the film, actress calls it quits, actress files FIR against producer

Bollywood Movies News:

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Top 5 international cuisines? And top 5 music genres?

Cuisine-

Chicken Tikka Masala

Pancit

Lumpiang Shanghai

Tiramisu

Gyros

Music Genres-

Comedy

Pop

Rock

Alt. Rock

Soundtrack