#ott films

[pearlgisa]

qala and the style over substance argument

so, i watched qala (dir. by anvita dutt) immediately when it came out - a story that exposed the music industry and the position of women in it, especially focusing on the toxic nature of indian classical music? it was like they made the film for me (someone who's spent a good chunk of their life trained in hindustani classical music). however, i was sorely disappointed.

in essence, qala, along with other films that did commercially well that came out in bollywood last year, solidified my understanding that the audience of today's generation of movie-watchers genuinely puts style over substance and in fact, uses it as a way to defend their favourite movies from criticism. the recent resurgence of praise for om shanti om of all films, only strengthened this opinion.

my criticisms for qala are in plenty, yet i will choose to expand on the ones that strike out the most to me, all of which range from the lightest to the harshest criticism:

the choice of music

the acting

the direction + writing

the handling of the serious issues that are the main theme of the film

before you read ahead, please know that there are spoilers.

in indian classical music, there are two distinct forms: hindustani (or, north indian) and carnatic (or south indian) music. each have their differences and similarities and even someone who hasn't trained can tell them apart upon listening. within hindustani music - which is the genre of music that qala learns from her mother - you have many different styles of singing, ranging from shastriya sangeet (classical form of singing) to laghu sangeet (semi-classical and sometimes, light music). of course, this categorization also has its roots in religion and caste. shastriya sangeet has forms of singing like dhrupad (the oldest form and a strictly devotional medium), khyal (the most common one, telling tales or speaking of human emotions), bhajan (also a devotional medium), etc.

laghu sangeet has forms of classical music like the thumri, a form of singing popularized and invented by courtesans. the lyrics were sensual, romantic and more explicit. of course, owing to these, they were looked down upon. even the british had a huge role in diminishing the status of indian women performers. the "other woman" concept was specifically one that they propagated and the rise of the "perfect housewife" phenomena began since the seventeenth century. the extreme effect of that? the courtesans lost out on their patrons and were forced into prostitution.

hence, that was the primary history behind qala's mother, urmila, shaming her into never being a performer, i.e, in a more derogatory term, a "singing girl". a courtesan, essentially. which is accurate, considering the film is set in the 1940s. if a girl was too "out there in the world", i.e, her achievements being publicised in newspapers or her getting recognition for her academics, her future marital prospects were ruined. and the "shame" that befell the family if she was learning music or dance was worse. a significant number of the prominent female musicians that emerged from this era of pre-independence to post-independence were unmarried. or they had many patrons and salacious rumours regarding their love life were in plenty. the film pakeezah (1972) explores such themes quite well. and the many renditions and retellings of devdas also serve as a good example of the stature of performing women.

however, it's the music itself where it goes wrong for me. the choice of songs as well as qala's singing (of course, all of qala's songs are sung by the amazing sireesha bhagavatula), is in a style all too similar to laghu singing. the years of egregious training, no matter how much her mother dismissed her, would've developed a voice which would've sounded a lot more like what a lot of classical singers would sound like, unless they were singing a lighter form of singing. and it isn't a matter of pitch or using falsetto. qala's mom is referred to as a master of qawallis, which is a sufi form of devotional singing (and comes well under hindustani music too). even the lyrics of qala's songs, while full of very obvious foreshadowing, do not match the overall orthodox classical upbringing that the film portrays.

while bhagavatula has an amazing voice well versed in classical music (especially since she sings bhajans so often), considering the time that qala was set in, you would've expected a sound similar to something along the lines of noor jehan or even roshan ara begum. instead, it sounds a lot like a mix of semi-classical instrumental with a more pop-based voice. which is easier for our generation to digest and consume, however, it comes at the cost of a sound which is very typical of the 50s-70s era of bollywood.

one that qala does right are the costumes. they do their job well. not the sets as much, which i will get into later. at some points, they are well in line with the rest of the era of the film, other times it just sticks out like a sore thumb. here's where the "symbolism" comes in.

one of the most jarring examples is the song qala sings at the first performance, a very light classical song just by the sound of the vocals. even the song jagan sings is very contemporary at its core. despite the characters having an allegedly strict, traditional schooling of music (jagan's voice is devoid of the typical heavy accent or dialects that those who are from underprivileged backgrounds tends to have), the songs at hand present a very modern take on qawallis, despite bollywood being a flourishing ground for many iconic qawallis. therefore, the compositions sometimes falter at some points specifically because of the vocal choices. choosing to do away with alaaps, especially in qala's part, less aakar and more bariki, are all signficant details that feel jarring to someone who's lived in the world of classical music as long as qala. otherwise, there are some signature sounds retained from the era that the film is set in.

and while still on the topic of singing, a very important issue that i find least addressed is the acting of it. despite there being little vocal variations in the compositions, the actors don't show that they are singing. and in the film specifically revolving around music, that's an extremely important detail that i find amiss. hardly opening the mouth, the movement of the lips, the posture as well as the hand gestures (yes, a very important detail!), are all obvious flaws. a recent film that does that does those details well is the disciple (2020). the first scene of urmila teaching qala singing displays urmila wearing an elaborate piece of nose jewellery that covers half of her mouth, and that's when they're doing rehyaas (practice), not a performance. it's huge details like these that don't sell the film to me.

the acting is quite underwhelming and here is where disagreements with my opinions might enter. i find trupti dimri's rendition of qala extremely, for lack of politer words, exasperating. she tends to show the same expressions for all of her problems, i.e., there is no great difference between her feeling anger or feeling despair or feeling depressed or feeling cheated or just plain exhaustion. qala's character is a complex one and difficult to act, which is a concession i will give, however, the hype around her is a little unnerving when the audience is given such an unremarkable delivery of dialogues and emotion. it comes off as school-play acting at times. swastika mukherjee, who plays urmila, is quite two-note with her acting, which sometimes suits her character and sometimes just feels very low-effort. babil khan has his moments, yet there is such less versatility. you'd think the babil of qala's hallucinations and the one who existed in real life would have some distinct characteristics (which they do), but they never come off as that. it feels so half-hearted at times.

the whole point of symbolism is that it's subtle at heart and not on the face. qala has on-the-face symbolism, which is an irony in itself. the black swan scene, the frosty room in the beginning, the ghostly jagan, etc. almost made me bump my nose into a wall. it comes off as pretentious at best, as if the viewer is stupid. it is also very off-putting in some scenes. for example, the black swan scene - there is very little buildup and it feels very predictable in the sense that "it all goes downhill from here". however, there is one scene which i like, which is the gargoyle one (a very traumatic scene, for those who recall, it is the one right before ghodey pe sawaar gets recorded for the final time). i think that is the most effective filmmaking in the entire film. the best thing about symbolism is always the subtlety. it makes the viewer keep coming back to pick up on something they might have missed in the first watch, it helps them pick up the pieces along the way instead of being able to tell the twists thirty minutes before they are revealed.

and one of the most egregious crimes of the entire film is the direction. here is where we get a little more technical (but just briefly, do not worry). the way it cuts from one scene to the next is like watching a poorly edited reel put out by the team of an out-of-touch marketing firm. the editing could have been better at many places. the writing falls flat specifically when it comes to the characters. i'm pretty sure on paper, the script must've been a delight to read. the story has so much potential - considering that it's based on two books, where there might've been even more depth given to the characters - it isn't new in any way but it offers a different, feminist perspective of the indian music industry. yet, the characters are paper thin on screen - in their ambitions, psychology and sociology. hence, urmila suddenly turning a new leaf in the last ten minutes of the film is something that feels wrong, because all along, she has been portrayed as a heartless mother. qala's actions make sense because her character has nearly always been rooted in self pity and rage. jagan is nothing without music. there is very little dimension to them apart from me summarizing their characters in one sentence with less than thirty words each.

that is why, the film feels even more half-hearted when it speaks of the issues that it centers around. all of these elements add up and make for a tiring watch. i gave qala a second chance, to be fair and omitted some of my pettier criticisms, yet the more serious ones remain. to a certain extent, it does aestheticize depression, which i have a huge issue with. however, baby steps as always with bollywood. it's no dear zindagi considering it is set in a different period with a different ending. however, the writing of the characters could've been so much better. a little more exploration of urmila's intentions would've given her so much depth. a few more interactions between qala and jagan might've given qala the chance to befriend him and not just see him a rival, thus intensifying the decision she took. the characters do not feel human, they are strictly white or black and qala being the anti-hero feels very off since it requires better writing and a stronger plot. and of course, much better acting.

however, qala re-opened up discussion of a nearly-always forgotten discourse - that of the position of women in music. and for achieving that bare minimum, i give it full credit. however, when there have been films with much better writing, characterization and cinematography in bollywood itself, with a similar theme, qala needs to be seen for what it contains than what it displays. just because it glitters, doesn't mean it's gold.

[cinemaflick]

Is the ott platform the biggest challenge to theatres?

There has been a big transition in the Indian movie theatre industry, from tiny street rolling-image frames to compact theatres in villages and towns to single projector theatres and finally massive multiplex chains. India is one of the world's biggest growing markets, with a GDP scale of 6-7 percent, a per capita consumption rise of around ~ 9 percent, as well as the third largest purchasing power parity economy in the entertainment and leisure sector, attracting rapid growth. The tendency to spend on recreation and entertainment is growing, with favorable demographics and increasing disposable spending, higher than the economy itself. The rise of the internet still continues to increase doubt as to where the future of the movie theatre industry is going given the technological developments that took the industry to the present position. Although the internet has helped to produce (digital) products and services more efficiently, it has the ability to improve efficiency and decrease costs as well. This will continue to build potential options for the consumer that can threaten other current possibilities. And OTT platforms are has become one of the film theatre industry’s disruptive innovations.

Over-the-top (OTT) media platform refers to something like a digital video platform which is distributed explicitly to consumers bypassing cable, radio and satellite tv channels over the Internet that usually act as distributors of those content. Over the past few years, owing to the rise in internet consumption, the media and entertainment sector has seen a significant push. This transition was motivated by factors such as fast internet connectivity, cheaper smartphones, extra screens, competitive data plans, and greater bandwidth capacity. Over the years, Over the Top (OTT) services have redefined their goals and customer desires. The growth of OTT networks has affected the movie theatre industry.

The fundamentals of the Movie theatre industry are being redefined; this paper will discuss development and evaluate the performance of the OTT market. Some of the online streaming platforms such as Netflix, YouTube, Amazon Prime Video, Hotstar, Zee5 provides a great opportunity to see and appreciate the issues facing the movie theatre industry, what the issuer is doing to combat the demand to see whether or not the customers are benefiting from these transitions.

[swordmaid]

brienne but she's wearing 1949 cocteau's beauty and the beast inspired fit!!! this is the inspo pic i used if ur curious.

gonna be posting more of this redesign thing (and also jaime's ver) some time in the future but i just wanted to share this one <3

[mlobsters]

~one minute later~

supernatural s1e13 route 666 (w. eugenie ross-leming, brad buckner)

swamp diving for a corpse laden racist truck, totally normal💁‍♂️

will he stay or will he go part 8 of ?

[mariocki]

Cape Fear (1991)

"Let's get something straight here. I spent fourteen years in an eight by nine cell, surrounded by people who were less than human. My mission in that time was to become more than human. You see? Granddaddy used to handle snakes in church, Granny drank strychnine. I guess you could say I had a leg up, genetically speaking."

[chineseredcarpet]

Zhou Dongyu for 2024 Asia Contents Awards & Global OTT Award at 29th Busan International Film Festival

[ennaih]

Every Film I Watch In 2023:

237. Candy Cane Lane (2023)

[katoptris01]

I watched Suncoast and I need to talk about it.

There's barely any buzz on the website so.

Spoilers ahead❗️❗️❗️

First off...cinematic. the shots, the filming, majority of the film conveys what it needs to.

Something that struck me was the dialogues. With the friend group at school it's so shallow. They decide what to wear, what to drink, what to smoke. They that don't have life altering consequences. Whereas Dorris, everything she does or says is something bigger and that's why nobody will understand her. They haven't been through that pain. Like Nate talking about his parrot... she could have a conversation about life and death and he talks about ....his parrot. I love how mildly supportive they are especially for prom or for reaching her back when needed.

Paul can have these more mature conversations with Doris because they both have the pain of losing someone. Everything about their conversation and relation in the movie is spot on, the little inside jokes, the talk about grief and mostly the debate.

I like how the story of the activists is there, it supports the main storyline of Doris but it also doesn't take away or directly interact with Doris.

The mother daughter dynamic is something they've nailed again. How she faces away from Doris when she's disappointed with her and towards her while brushing her teeth when she wants to win her daughter back. The thought process between both of them. It's very real. It's heart wrenching but it's real.

The ending doesn't give me enough closure but I've to learn to process it.

As someone who has dealt with loss, taking care of a loved one and having a sort of delusional mother. This movie hit me in different ways. It had me crying, smiling and overall the story was well done. Acting was a plus too.

I hope Suncoast gets the recognition it deserves.

[kopw]

[freepressjournals]

Tamil Film Industry to Pause Productions and Implement New Regulations from November

In a recent high-stakes meeting among key players in Tamil cinema, significant changes are on the horizon. The Tamil Film Producers Association (TFPC), in collaboration with the Tamil Nadu Theatre Owners Association, Tamil Nadu Multiplex Owners Association, and Tamil Nadu Film Distributors, has laid out a series of resolutions aimed at addressing the pressing issues within the industry.

Key Decisions from the Meeting:

OTT Release Window: Films starring major stars will now have an eight-week window between their theatrical release and their debut on OTT platforms. This new regulation aims to maximize the revenue potential from theatrical runs before films become available for streaming.

Actor and Technician Dues: A major concern is the practice of actors and technicians accepting advance payments from multiple production companies while failing to complete existing commitments. To mitigate financial losses for producers, actors and technicians are now required to finish ongoing projects before taking on new ones. Notably, producers are advised to consult the TFPC before beginning new projects involving actor Dhanush, who has been involved in such disputes.

Ceiling on Salaries and Production Costs: The industry has seen a surge in salaries and production costs, impacting overall budgets. The TFPC is working on new regulations to cap these expenses and bring more structure to film financing.

Temporary Suspension of New Shoots: To ensure a smooth transition to these new regulations, a temporary halt on the start of new films has been mandated from August 16, 2024. Current projects must be completed by October 30, 2024, with no new shoots commencing until the new rules are fully implemented.

Communication and Compliance: Producers are required to formally report ongoing film projects to the TFPC. This measure is intended to keep track of productions and enforce the new regulations effectively

Formation of Joint Action Committee: A new committee comprising producers, distributors, and theatre owners will oversee the implementation of these resolutions and address future industry issues.

These sweeping changes come in response to ongoing challenges in Tamil cinema, including financial mismanagement and escalating production costs. The industry has faced similar shutdowns in the past, such as the 2018 strike over revenue sharing issues. This time, however, the focus is on regulating actor and technician conduct, and the industry awaits the reactions from those directly affected by these new rules.

As the TFPC gears up for these significant shifts, it will be crucial to see how these regulations impact the Tamil film industry and whether they effectively address the concerns that have prompted this decisive action.

[theinfinitedivides]

I FINALLY GOT THE F*CKING JAWAN SPOTIFY AD

[playermagic23]

Bollywood Hungama "Style Icons" returns with Season 2!!!

It’s that time of the year again! Today, Bollywood's most prestigious style extravaganza, the ‘Bollywood Hungama Style Icons’ Awards returns with even more grandeur and sophistication, building upon the tremendous success of our inaugural event in 2023.

Kicking off with insightful panel discussions in the first half, industry experts and fashion aficionados shall delve into latest trends that shapes Indians’ style across the globe, thanks to inspirations from the showbiz world, especially Bollywood.

After back-to-back engaging discussions, Bollywood Hungama and its partners shall put up a dazzling award show at a glittering awards night.

Last year, the inaugural event of the Bollywood Hungama Style Icons Awards witnessed luminaries like Ajay Devgn, Rohit Shetty, Kartik Aaryan, Anushka Sharma, Kriti Sanon, Bobby Deol, Rajkummar Rao, Arjun Kapoor, Malaika Arora, and many more in attendance.

Following a similar trend, this year's awards function will continue to celebrate achievers from diverse walks of life, including Television, Sports, Business, Fashion, OTT, Culinary World, Regional Cinema, and beyond.

Maniesh Paul and Sophie Choudry to host the Second Edition of Bollywood Hungama Style Icon Awards. The Advisory Panel Includes Bollywood well-known stars - Shilpa Shetty Kundra, Rohit shetty, Neha Dhupia, Malaika Arora, Milind Soman.

Check out Bollywood Hungama for the nominations and vote for your favourite Actor/Actress.

Are you looking forward for "The Biggest Glamour & Fashion Night"? I certainly am quite EXCITED!!!

[collectingtoday]

Oh my God has anybody watched showtime? On hotstar?? Doooooooodddd

[mariocki]

Army of Darkness (1992)

"Are all men from the future loudmouthed braggarts?"

"Nope. Just me, baby. Just me."

[terristernwrites]

Watching the 2003 League of Extraordinary Gentlemen and I had forgotten how much of a delightful bitch Dorian Grey was. Stuart Townsend absolutely eating the set and having a fabulous time with it.

[ennaih]

Not Every Film I Watch In 2024

20. The Miracle Of Morgan's Creek (1943) -- fifty-billionth rewatch