SYNCCINEMA

W hat has New Age filmmaking brought to Indian Cinema? 2020  is a landmark year when it comes to movies, with the last decade witnessing a great transformation in Auteurism, Story-telling and of-course, audience. Talk of Content Heroism or Technical brilliance in a movie, the ‘10s flicks peaked the curb over them. The trends which prevailed over the decade influenced both the Veteran, aspiring and on the rise filmmakers along with tailoring the expectations of we as the audience to a high and rich standard.   The decade of 10s has seen a tremendous rise in young Filmmakers given a chance to prove their worth for the sense of cinema just through Short Films. Earlier, the case was to join as an AD or Writer under Senior Technician and slowly climb up the ladder to become the Film-Maker that one wished for years ago. This Smartphone generation created and earned chances out of their pockets, both literally and figuratively, with their Phone Cameras and a Short story to express....

W hat is Filmmaking According to you? Cinema’s beauty lies in its Rhetoric Nature, where, the cosmos gets equally filled with, ideas and executions, art and technique, also something abstract and real. It can be said that here, something as Vague as a dream is captured to be made figurative for its beauty of possibility. That is, in a very blithe stroke, Filmmaking for us.   This Craft gets propelled by such ideas, which, due to the thinking, lifestyle and the world, finds a new colour every day, along with Perspectives finding a new shade.   Cinema reinvents itself  ever so often  into a more creative and expressive medium  as an art or as a culmination of art forms. The new notions we sprout out in this "Millenial Age", such as “Coming of Age” or “Ahead of its Time”, only when you think of it, rather than being futuristic or Unforeseen, the movies tagged as above have actually redefined or deservingly defined Cinema, perfectly-staying true to the time....

RED – The safe gamble of filmic natters and terrific thrills Let’s understand the word  honest remake , which has 2 ways in the adoption of a story – Cloning the Original and Re-mastering the original. While Cloning is the safest, it tends to borrow a non-innovative version catered to a different audience ( Eg.  Rakshasudu  ). Re-mastering demands skill and proper understanding of the subject to re-create the magic of the original, which if done, will stand out better than the Original ( Eg.  Kuruthipunal  ). Red, directed by Kishore Tirumala falls short of an  honest remake  by a mile.  Red is parts Cloning and parts Re-mastering, and the best mostly lies in Cloning. As said, re-master demands a proper  understanding  of the subject and  Kishore Tirumala’s  melodramatic and overly drawn dialogue treatment never rises above the horizon of impressing us. The Director’s previous works also had a dialogue-heavy, exhausting conve...

 Master -  The Catch -22 in the Star-Young Director duo is masterfully triumphed. There is a delight in witnessing an aspiring filmmaker who has a distinguished vision and modern influences direct a slowly sludged star for whom “Crowd goes Crazy for”. The refreshing and innovative creativity in the  rebirth  of our star with a mix of signatures carried from the Star’s Mannerism and Director’s artistry works wonders on screen, but with a price (the very price which bombed  Darbar   last Pongal and averaged  Petta  the Pongal before). Lokesh Kanagaraj relay’s his Structure from his past films  Maa Nagaram  and  Kaithi , where the canvas of the story is first set in the initial 10-15 mins and then titles roll. Both of his earlier films were grim and dense in subjects, in contrast,  Master  has the grim slightly cut down (after all it’s for the commercial audience) whereas the density is intact.  As a result, we get...

K rack – Krack is a unique concoction of rehash as well as re-invention of a dying genre. Krack, in its very first minute,  seems  not to be wasting time with the focus on a so-called Highly wanted criminal’s BBC interview ( the interview theme is later forgotten anyway ). He interestingly states that a trivial 50rupee note has led to his arrest. Now, the idea of a trivial Note, mango and a nail had an influence on 3 big shots getting arrested and no-nonsense Cop as the manifesto, is meaty enough. In Contrast, the overall field of view from the Writer isn’t automatically no-nonsense. Krack, being a chanced return-to-form flick of a desperate  Ravi Teja  is also a unique concoction of rehash as well as the reinvention of a dying genre. It’s a flip coin which only has 2 outcomes, one full of  inspirations  and  clichés  and the other filled with refreshing takes made with acknowledgement to  current  tastes - ( this is the part whe...

T enet – Nolan’s Complex Enough Time Twist is both Eye-popping and Over-Stuffed even if you watch it in reverse   The famous line in the movie – “ Your Duty Transcends National Interests” is similar to Nolan’s style of storytelling, one can say – “ His Cinema Transcends Quintessential Conceits”. Nolan’s ideas have always come from the grass-root level of a spinoff on Common Genres or highly used trope. His work is rendition and re-imagination of Exhaustive Treatment of a particular story -   Interstellar  (Inter Galactic Adventure),  Dark Knight Trilogy   (Everyday Superhero),  Dunkirk  (Classic War Drama),  Inception  (Heist Thriller). Tenet also has an easy match to the Common Genre of Spy Thriller, with Nolan looking to add his patented flavours to  Mission Impossible  and especially  Bond  series. Tenet kicks off like any other Nolan film with a Grand Sequence of,  happeni...

A naganaga Oo Athidi (AOA) – Drama Tension from the Old School It’s rare to see a  philosophical thriller,  with equal amounts of messaging and dramatically sucking aspects put forward in an apt  method  to suit the world of its story. This movie gets these elements right from it’s fore-bearer  Aa Karaala Rathri   (2018), which itself is a cinematic rendition of a Stage Drama going by the same name written in the ‘80s. The macrostructure to the minuscule lines is all old school. The movie starts with  Tanikella Bharani’s  voice stating “Spark inside the man has led to the Spark he discovered for Survival “. There are many such dialogues which are strongly mouthed by the  characters,  one of the best lines being – “  Khaamaniki Kallu Levu, Aasa Ku Chaavu Ledu “,  which means “ Perv is blind, Greed is immortal”. These set of lines perfectly describe the motive of a family of 3 –  Malli  ( Payal Rajput ),  An...