On 14th March, the UK Asian Film Festival in its 20th year, looks to champion female-oriented films and artists as its opening gala welcomes Pakistan’s biggest superstar, actress Mahira Khan, and pioneering Indian cinema veteran and talk show hostess, Simi Garewal at the Mayfair Hotel in London. Historically known as “Tongues on Fire Asian Woman Film Festival” and, more recently, “London Asian Film Festival,” the festival will run in four cities across the UK during the month of March.
Celebrating 100 years of women (over the age of 30) gaining the right to vote in the UK, the theme of UK Asian Film Festival 2018 is “F-Rated” — a specialist rating assigned to films that have been recognised for their progressive representation of women or those with women behind the camera.
The opening gala on 14th March at The May Fair Hotel, London, will honour female heroes that have challenged stereotypes, broken barriers and pushed boundaries to make a difference. Recipients will include veteran British television, theatre and film actress and activist Jamila Massey, author and campaigner Rahila Gupta, and legendary actress and talk show hostess Simi Garewal.
One of the most iconic female members of the Indian and international film fraternities, Garewal deconstructed the archetypal female heroine in Indian cinema from her screen debut in the 60’s and has since proved a consistent game-changer in the industry as both outsider and insider. The festival will also be honouring Anita Anand — broadcaster, journalist and author of “Sophia: Princess, Suffragette, Revolutionary,” for shining light on the story of Sophia Duleep Singh, who is largely absent from popular narrative although a prominent figure and activist of the UK Suffragette movement feature. In addition to this, the opening gala will feature a conversation with actress Mahira Khan, Pakistan’s biggest celebrity transcending borders with a global fan base.
Other events that will take place as part of the festival include the screening of Devashish Makhija’s “Ajji” (Granny). This social drama revolves around an elderly woman, who finds her nine-year granddaughter dumped in a trash heap after having been assaulted near her slum. What follows is a bloody quest for revenge and an exploration into the horrors of toxic masculinity. The screening will be followed by a Q and A with director Devashish Makhija.
Dr. Pushpinder Chowdhry MBE, the festival’s founding director says,
“In our 20th anniversary, Tongues on Fire – UK Asian Film Festival are proudly going back to our roots of a female driven festival with a “F rated” perspective to our films and events. While curating films this year I was aware that there was a lack of female directors in the industry. Through this festival, we endeavour to proactively reach out to, support and inspire new filmmakers, giving them a chance to showcase their work. We are excited to extend to Leicester, Manchester and Edinburgh while strengthening our London edition, made possible by a generous contribution from the BFI Lottery Fund.”
For any of us who have siblings, the relationship with them can be one of the most fulfilling ones. And also one of the most bloody frustrating. No one can quite stroke the fire like someone who knows you extremely well, or sometimes not, but have a familial bond with that neither one of you chose. In “Polite Society,“directed by Nida Manzoor, sisters Ria Khan and Lena Khan’s loving, sweet, and sometimes tumultuous relationship takes center stage.
Played delightfully by Priya Kansara and Ritu Arya, respectively, the evolution of their relationship is one of the film’s greatest and simultaneously weakest points. It’s also pretty cool to see two South Asian actresses in an action-comedy movie — how refreshing it is to mention the art of choreography and praise it in regards to fight sequences vs. dance sequences for a film centered on two South Asian women — that itself shows progress.
Set in London, Ria is an aspiring stunt woman who already shows massive talent in martial arts. She looks up to her older sister Lena, who is enrolled in art school and, also holds remarkable potential in a somewhat less traditionally acceptable field. Their relationship starts off as supportive and sweet with no inclinations of jealousy or resentment that sometimes plagues sisterly bonds. But this also means that they are quite protective of one another, almost to the detriment of their well wishes for each other.
This all happens when Lena gets engaged after dropping out of art school. Ria feels betrayed. They were supposed to be on this journey together in fighting for their dreams. Ria decides that she knows what’s best for her sister and enlists the help of her friends to rescue the damsel in distress from her own wedding. Her deep animosity towards the prospect of Lena getting married is also fueled by Lena’s fiancé and his mother acting extremely suspiciously. The twist that ultimately brings the two sisters back together is both shocking and weirdly somewhat progressive in the motive behind the villain’s origin story. But the twist, unfortunately, is too ambitious for the movie as it tacks on another genre and theme earnestly, but still clunkily.
“Polite Society” tackles not only what it means to fight for one’s dreams but also what it means to have just one ardent supporter. As Lady Gaga famously said, “There can be 100 people in a room and 99 of them don’t believe in you but all it takes is one and it just changes your whole life.” Well, Ria’s Bradley Cooper was her very own sister who seemed to abandon her, and her faith in her, when she chose a different path. For Lena, the film opened up the question of marriage and the weight it bears in the life of a South Asian woman. Ria’s lack of understanding of the pressure it places on Lena is the start of the change in their relationship — the start of Ria’s coming of age and the start of Lena settling firmly into her adulthood.
Standouts from the cast include Ria’s best friends, played by Seraphina Beh and Ella Bruccoleri, who commit to the story and characters with such hilarity and conviction. They add the lightheartedness and playfulness the film needs, and it is refreshing that never once do they use Ria’s cultural background as a way to make fun of her or dismiss her.
It is also heartening to see Lena and Ria’s parents being some of the most supportive South Asian parents seen on screen. At the end of the day, it is not the external family pressure that impacts the decisions made by the sisters but rather their own satisfaction, or lack thereof, with their own lives that become the driving force of their actions.
“Polite Society” is written and directed by a South Asian woman for South Asian women, and is definitely worth a watch when it releases in theaters this April.
Haider wades his way through Karachi’s expansive beach, climbing and tumbling over rocks, in Mumtaz’s memory. The vast landscape is perfectly encapsulated in the 4:3 aspect ratio — an unconventional yet welcoming choice. He vanishes into the sea, leaving his storyline open-ended. The screen fades to black. The film comes to a close. The gentle humming and lapping of the waves disappear. However, I stay put. Stumped, and unable to comprehend the masterpiece that Saim Sadiq, director of “Joyland”, has blessed Pakistanis with.
“It’s so important to narrate these stories in today’s world, where we’re often divided and seldom united,” says producer Apoorva Charan during an exclusive chat with Brown Girl Magazine.
It’s her feature film debut as a producer, and she’s justifiably beaming with pride.
Joyland is such a win for South Asia, but particularly, Pakistani storytelling. Every person I met, I felt like there was some characteristic or quirk about them that mirrored our characters in the film.
Set in the depths of androon Lahore, “Joyland” primarily revolves around Haider (Ali Junejo) — a meek, unemployed house husband in a borderline, passionless marriage. He’s happily helping Saleem bhai (Sohail Sameer) and Nucci bhabi (Sarwat Gilani) raise three kids, while the fourth one breaks Nucci’s water in the opening scene. Another girl is born, despite the ultrasound’s previous declaration of a baby boy.
“If I were to receive an award based on my character in “Joyland”, it’d definitely be for “best at single-handedly increasing the population of Pakistan,” says Gillani, as we howl with laughter during our spoiler-riddled chat with the cast of the film. “I think that, combined with the ‘coolest bhabi’ — those two will have my name on them.”
But Nucci’s wasn’t just a bhabi who pumped out a new baby every year. Sarwat’s character was given some level of agency — a woman who reminisced about a career in interior design before marriage and kids while smoking a cigarette in secrecy.
I think my philanthropic work plays a part in how I started saying no to bechari roles. How can I be a role model to these women I’m trying to help, while playing the same characters? The change came about with “Churails” and I vehemently stuck to it. My characters need to have a voice; a backbone.
On the other hand, Haider’s wife, Mumtaz (Rasti Farooq), works as a beautician at the local salon, busy dolling up brides in Lahore’s unpredictable load-shedding.
Both Haider and Mumtaz seem to have a relatively stable marriage based equally on societal expectations and gender-flipped roles. While Haider stays home, helps in the kitchen, and attempts at searching for a traditional job, Mumtaz carves autonomy and independence for herself. This is in spite of an oppressive family life characterised and dictated by Haider’s overly conservative, traditionalist father and patriarch, Rana (Salmaan Peerzada), who wishes for the couple to procreate a cricket team of just boys.
But Rana, known as Abba Jee, is also layered with his own 50 shades of grey, struggling with loneliness and a lack of intimacy, mirrored in his relationship with next-door neighbour Fayyaz (Sania Saeed). His emotional desires are symbolised by his physical impediments — the former handicapped with “what will people say”, and the latter with a wheelchair. The rules that he has for his children are the same that his children have for him, bound by tradition, norms, and society. They are not allowed to stray from what is considered “normal”.
The film’s women are strong which is pretty much a reflection of the women in Sadiq’s life. While Abba Jee shuns the love and companionship that Fayyaz offers, she stands her ground until firmly asked to leave. The complexity of each person’s emotions versus expectations is what makes “Joyland” relatable on a human level.
Alternatively, Mumtaz’s relationship with Haider is based on convenience and habit, where two people share the same bed but sleep facing away (partially because one of Saleem and Nucci’s young daughters crashes with them every night, illustrating the confined space both Haider and Mumtaz are allowed to be themselves in). The dynamics of their marriage drastically evolve once Haider’s eye catches Biba (Alina Khan), covered in blood as she walks numbingly into the hospital where Nucci gave birth. The introductory scene mirrored the brutal reality of violence inflicted upon Pakistan’s trans community; one of “Joyland’s” most haunting moments.
Mumtaz is asked to quit her job once Haider lands a gig as a “theatre manager” — a cover-up for his job as a background dancer at the nightclub Biba coincidentally performs at. The film portrays the traditional Pakistani marital social dynamic; men must work, and women must housekeep. Even when some level of independence is allowed to a married woman, she must forego her right to a career later in life. Understandably, it leaves Mumtaz devastated.
“It’s so strange how that’s just an acceptable act in our society,” Farooq chimes in, voicing Mumtaz’s thoughts. “Even if a woman is good at a 100 things, ultimately, she’s expected to quit her job to be a homemaker because that’s ‘her job’.”
With time, Haider falls into a routine and rhythm of working at the theatre and spending more time with Biba, allowing him an insight into the widespread transphobia she’s regularly faced with. Biba confides her innermost desire to be what she termed as “a complete woman” in order to land the same dancing opportunities as her counterparts.
Haider’s daring closeness to Biba leaves Mumtaz — who at this point is reliant on him as a best friend more than the physical intimacy he fitfully provides her — alone, isolated, and depressed. For Haider, it is liberating to leave problems at home and escape into a secret world centred around his deepest desires. He doesn’t want to be a bad person. He doesn’t wish to hurt or leave his wife. But his happiness now seemingly lies in dancing and exchanging stolen kisses with Biba. Farooq agrees:
I think Mumtaz and Haider were best friends at this point. They had an unspoken love for each other, which stemmed from the sanctity of their relationship. They might not be in love but they did love each other. In the eyes of our society and otherwise, they were married, but they’d drifted so far apart. There was love but it wasn’t possible to return from how distant they were.
This point of no return brings Haider to a crossroads — one where he is torn between his loyalty to Mumtaz and his love for Biba. Ultimately and ironically, in a particularly passionate moment, it is his curiosity pertaining to Biba’s sexuality that drives her to throw him out of her life. Defeated and guilt-ridden, he comes face-to-face with a pregnant and non-confrontational Mumtaz, who, by now, is aware of what Haider has been up to but doesn’t have the mental capacity to verbally digest his infidelity alongside a child she doesn’t want.
Her apprehensions about bearing and raising children are indicated throughout the early days of her pregnancy. The clutching of her stomach, the tightening of the rollercoaster belt during a visit to Joyland park, and her unease during the ultrasound are just a few examples of Mumtaz’s angst.
Abba Jee’s 70th birthday was the straw that broke the camel’s back. Mumtaz, surrounded by family and friends and feeling emptier than ever, takes her own life. A tragic full circle where one life ends as the other begins. Her suicide is harbingered by Rana’s birthday speech as he recalls a palmist once saying his bloodline would end with Haider.
“Joyland” is replete with polarity. There is a seamless hand-in-hand flow of happiness and devastation, longing and antipathy, birth and death. Pakistani society’s struggles with misogynistic gender roles are depicted in the most gentle, sensitive, and nuanced ways. The struggle is also ironic, considering Pakistan has one of the most progressive transgender legislations in the world. Trans people have the right to self-identify their gender in Pakistan – a right still denied to the trans community in many progressive countries, such as the UK.
A deeply reflective film with memorable and emotional characters doing justice to their performances. It’s currently running in cinemas here in the UK, and we highly recommend watching this poignant piece of art.
As a South Indian American, I am aware of how non-brown Americans view the Indian film industry. One word: Bollywood. Bollywood and the South Indian film industry has always been lumped into the same category as Bollywood, despite the diversity. For Indians, South India is obviously different from North India, but non-brown people assume it would all be the same. This extends beyond Indian cinema; feeding into assumptions regarding other aspects of culture like language, food, and so on. People tend to assume all Indians speak Hindi or eat tikka masala at home rather than trying to understand the diversity of Indian culture. With time, especially with the help of social media, there was more accessibility to understanding the differences among these cultures, yet nothing truly spread across the globe. Then came “RRR.”
“RRR” is a Telugu film from Tollywood. This South Indian film has become a worldwide sensation with its incredible visual effects, captivating plot, and catchy music. I was blown away by the reception this film got in the United States, especially from American film critics who were all praise. What impressed me the most was how more Americans clarified it was not a Bollywood film, and differentiated it as a Tollywood film. The number of people taking the time to learn the difference between Tollywood and Bollywood might seem simple, yet meaningful, nonetheless. South Indian films are incredibly underrated and are finally getting the attention they deserved. It is incredible to see the celebration surrounding the film and what it represents and means to this community and how we get to share it with the world. The hype was real, and then the awards season began.
The Golden Globes top the list of some of the major awards for television and film and it was amazing to hear that “RRR” had been nominated in two categories for this award. Funnily enough in my own world, it aired on my birthday. Then came the moment when Jenna Ortega said “Naatu Naatu, RRR” and the song played as M.M. Keeravani approached the stage to accept his award. This song became the first Asian, not only Indian, song to win the Golden Globe for Best Original Song. The 80th Golden Globes saw many wins for the Asian community with films like “Everything Everywhere All At Once” and “RRR.” There is something beautiful about being South Indian in America and watching a South Indian song win an award in America on one’s birthday. There is a joy in getting to tell my friends, both brown and non-brown, about it and share the song, “Naatu Naatu,” with them. Sure it is Indian, but it is just a bit closer to home, and that closeness stands with a beautiful meaning. When it came to the Critics’ Choice Awards, it was touching to hear about how S.S. Rajamouli grew up with the encouragement of creativity and storytelling. It honestly inspired me to continue my own projects; I hope to see them prosper as well.
After the win at the Golden Globes, the Oscars became highly anticipated for the Indian community, especially when the nominations for Best Original Song were announced. Of course, when the familiar title appeared once again, a victory felt within grasp. “Naatu Naatu” had a couple of big moments at the Academy Awards ceremony: the performance and the win itself. The performance was introduced by the absolutely phenomenal actress, Deepika Padukone, who, too, is s South Indian. Her introduction of the song brought forward the context in which the tune takes place, that is during 1920 under the British colonization of India. She reminded all of us of how significant the song was along with its catchy beat. When it came to the announcement of who won Best Original Song, it was a first-of-its-kind victory given that it was the first time an Indian film won in this category. The speech made by M. M. Keeravani was beautiful as he sang to the tune of “Top of the World” with his own lyrics to take in the moment. It was certainly an extremely proud day to be Indian anywhere in the world, and especially to be a South Indian.
Seeing non-brown folks acknowledging the diversity of Indian culture has been beautiful to witness. The cultural pride of saying an Indian film, specifically a South Indian film, won the Oscar, a Golden Globe for Best Original Song and two Critics’ Choice Awards so far is an absolute joy. Seeing South Indian representation, especially during the awards season, is inspiring for brown creatives. This has been a time of great cultural pride in the South Indian community, and as a South Indian creative myself, I am honored to see it.
Photo Courtesy: Netflix