Saturday, November 14, 2009
Can see this unlucky story
The smile was disappear of her.The feeling of world is same.My camera was worked like the time I was a journalist."she is a monk"........it is the unforgettable situation in this incident.Another person who will go to wariyapola can see this unlucky story.
Wednesday, September 9, 2009
Between Two Worlds vimukthi jayasundara's new film
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Between Two Worlds
7 September, 2009
Dir/scr. Vimukthi Jayasundara. Sri Lanka-France. 2009. 86 mins.
Sri Lankan director Vimukthi Jayasundara won the Camera d’Or at Cannes in 2005 for The Forsaken Land, a bleak allegory of his country’s bloody civil war. His second feature is an impenetrable but also densely poetic work of great formal beauty that will inevitably play only to the most ethereal reaches of the arthouse spectrum.
If it all sounds like the dramatisation of one of Bob Dylan’s more visionary ballads, in a sense, that’s also how it looks
The film goes on to Toronto after its prestigious Venice Competition berth, and it looks sure to notch up further festival action, and possibly even some limited theatrical action, as word of mouth spreads among rapt (or at least tedium-tolerant) cineastes.
The story pans out across a succession of symbolic tableaux. First we see a semi-naked young man (Laknath) falling into the sea, apparently from the sky. He later turns up in the middle of a riot in an unnamed city, where looted televisions and computers litter the streets and men armed with sticks are attacking someone dressed in a Mickey Mouse suit (one of the film’s more gratuitously absurd moments). He rescues a young girl (Lu) – perhaps a prostitute, we’re never entirely sure – but she goes off with the bald driver who gives the couple a lift in his minivan.
With the city now left behind, the man wanders the verdant countryside and meets a woman who seems to be, or have been, his brother’s fiancée (Fernando). Meanwhile – or in a different time frame altogether, it’s impossible to be sure – two fishermen are sitting on a rock, helping each other remember the details of old legends about kings and princesses. Later the young man watches a dog feast on the caracasse of a cow, and has his fortune told by a soothsayer with a caged green parrot.
If it all sounds like the dramatisation of one of Bob Dylan’s more visionary ballads, in a sense, that’s also how it looks. Only the initiated will be aware that the film’s elliptical story derives in large part from the Mahavamsa, or ‘Great Chronicle’ – a verse history of the legendary early kings of Sri Lanka, like Pandukhabaya, who survived all his evil uncles’ attempts to kill him off while still a boy.
In an extreme symbolic key, Jayasundara seems to be probing a foundation myth that has been coopted by both Tamil and Sinhalese nationalists for political ends. But few of the film’s small band of potential admirers are likely to pick up on this undertow.
The director’s regular DoP, Channa Deshapriya, creates painterly landscape spreads, picking out ghostly burnt trees in the rising mist. And Laksham Joseph de Saran’s haunting muscial soundtrack, consisting of breathy flute melodies over sombre held bass notes, oozes melancholic atmosphere, and complements the sensitive sound design, which creates a background static of leaves, crickets and birdsong.
Between Two Worlds
7 September, 2009
Dir/scr. Vimukthi Jayasundara. Sri Lanka-France. 2009. 86 mins.
Sri Lankan director Vimukthi Jayasundara won the Camera d’Or at Cannes in 2005 for The Forsaken Land, a bleak allegory of his country’s bloody civil war. His second feature is an impenetrable but also densely poetic work of great formal beauty that will inevitably play only to the most ethereal reaches of the arthouse spectrum.
If it all sounds like the dramatisation of one of Bob Dylan’s more visionary ballads, in a sense, that’s also how it looks
The film goes on to Toronto after its prestigious Venice Competition berth, and it looks sure to notch up further festival action, and possibly even some limited theatrical action, as word of mouth spreads among rapt (or at least tedium-tolerant) cineastes.
The story pans out across a succession of symbolic tableaux. First we see a semi-naked young man (Laknath) falling into the sea, apparently from the sky. He later turns up in the middle of a riot in an unnamed city, where looted televisions and computers litter the streets and men armed with sticks are attacking someone dressed in a Mickey Mouse suit (one of the film’s more gratuitously absurd moments). He rescues a young girl (Lu) – perhaps a prostitute, we’re never entirely sure – but she goes off with the bald driver who gives the couple a lift in his minivan.
With the city now left behind, the man wanders the verdant countryside and meets a woman who seems to be, or have been, his brother’s fiancée (Fernando). Meanwhile – or in a different time frame altogether, it’s impossible to be sure – two fishermen are sitting on a rock, helping each other remember the details of old legends about kings and princesses. Later the young man watches a dog feast on the caracasse of a cow, and has his fortune told by a soothsayer with a caged green parrot.
If it all sounds like the dramatisation of one of Bob Dylan’s more visionary ballads, in a sense, that’s also how it looks. Only the initiated will be aware that the film’s elliptical story derives in large part from the Mahavamsa, or ‘Great Chronicle’ – a verse history of the legendary early kings of Sri Lanka, like Pandukhabaya, who survived all his evil uncles’ attempts to kill him off while still a boy.
In an extreme symbolic key, Jayasundara seems to be probing a foundation myth that has been coopted by both Tamil and Sinhalese nationalists for political ends. But few of the film’s small band of potential admirers are likely to pick up on this undertow.
The director’s regular DoP, Channa Deshapriya, creates painterly landscape spreads, picking out ghostly burnt trees in the rising mist. And Laksham Joseph de Saran’s haunting muscial soundtrack, consisting of breathy flute melodies over sombre held bass notes, oozes melancholic atmosphere, and complements the sensitive sound design, which creates a background static of leaves, crickets and birdsong.
Monday, August 31, 2009
Wednesday, April 15, 2009
A Beautiful Day
A Beautiful Day is showcasing his ability and his credentials in the film sector.
All three short films are based on social incident. This is good and there are no myths of life in his silver screen. We are happy to release his third short film as Sri Lanka Guardian cinema presents.
http://www.srilankaguardian.
Sunday, March 22, 2009
Projecting young talent
Wednesday, March 18, 2009 Leave a Comment
First short film will be released by the Sri Lanka Guardian (Watch)
________________________________
By Nilantha
(March 18, Colombo, Sri Lanka Guardian) I met him in 2005 when we started Maubima, the controversial weekly newspaper.Nuwan Jayatilleka, a talented youngster, was very interested in journalism. We became close friends after starting our weekly (Mawbima) newspaper.
“I want to do some change in this society because the social system in our nation is wrong,” he told me when one day we visited war zone areas for media coverage.
Finally, when the Mawbina close down, we joined different media institutions.
After a few months, Nuwan rang me and told me that he had taken up a new task as a co-ordinator in a commercial advertising firm while he continued to improve his knowledge on the film sector.
I was surprised that this young talented person had already finished his third short film. He also explained his initiatives in the filming sector.
Our discussion also centred on the fact that Sri Lanka needs more and more young knowledgeable people in various sectors.
In this context, Nuwan becoming a film-maker is good for the island nation.
He came to Colombo in early 2000 after failing to gain university admission because of the controversial education system in Sri Lanka.
He searched for some prominent people who could change the social system. For sometime, he was trapped by some people’s mythical post-modernist dreams.
"The life will give many things from friends. Real friends will help us every time and he or she understands our attitudes."
“They want to use us and trash our energy. It is hard to find our own way to work for the good of Sri Lanka,” he said after he quit a political group.
Then he joined top film-maker Vimukthi Jayasundra as a partner.
Nuwan learnt many things about films and how to deal with people when he was under Vimukthi. “Vimukthi gave me new life. I must honour him. Dharmasena Pathraja was one of my mentors as well. I would be happy to say that Vimukthi is also my mentor,” Nuwan said.
The life will give many things from friends. Real friends will help us every time and he or she understands our attitudes.
Of course, Nuwan faced many difficulties in his life. He came from a village.
And now A Beautiful Day is showcasing his ability and his credentials in the film sector.All three short films are based on social incident. This is good and there are no myths of life in his silver screen. We are happy to release his third short film as Sri Lanka Guardian cinema presents.
External Link: Nuwan's You Tube Channel
http://www.srilankaguardian.
-Sri Lanka Guardian
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