Fabulous south Asian features and shorts at this year’s London Film Festival
By ASJAD NAZIRSep 21, 2022
This year’s London Film Festival runs from October 5-16 and once again has a strong south Asian line-up, which touch upon diverse genres and have interesting storylines.
There will be cinema screenings, and some films will be available online. Eastern Eye looked ahead to the annual event, with a preview of the best south Asian films on show, which have English subtitles.
Thampu (The Circus Tent): There is a rare chance to see a restored version of the 1978 Malayalam language drama, which was screened at this year’s Cannes Film Festival. The story of a circus that comes to a small Keralas village has been described as an immersive and mesmeric Indian classic. The black and white film won multiple honours when it was originally released, including a National Film Award for Best Feature Film in Malayalam.
Joyland: The stunning Pakistani drama from writer-director Saim Sadiq had its world premiere at this year’s Cannes Film Festival and won a prestigious jury prize. The Lahore-set Urdu language story revolves around a young man, with high expectations from his family, who falls in love with a transgender dancer. The taboo-busting film was particularly praised for the stunning lead performances.
All That Breathes: The visually captivating Hindi language documentary premiered at the 2022 Sundance Film Festival earlier this year to great acclaim and was also selected for a screening at the Cannes Film Festival a few months later, where it won awards. It follows two brothers struggling to run a homegrown hospital for birds in Delhi. They must deal with challenges that include extreme pollution and social unrest.
Ariyippu (Declaration): The 2022 Malalayam language drama had premiered at the 75th Locarno Film Festival in August. The pandemic-stricken times story revolves around a married couple working in dead-end factory jobs, dreaming of getting employment abroad, who must deal with a compromising video of them being circulated. The slice of life movie from writer-director Mahesh Narayanan received rave reviews across the board.
Faraaz: The Hindi and English film based on a real-life terrorist attack that ravaged a Dhaka café in 2016 is a tense hostage drama set over one claustrophobic night. Hansal Mehta has directed the taut action thriller, which stars Juhi Babbar, Aditya Rawal and Zahan Kapoor, and tackles multiple themes.
Meghdoot (The Cloud Messenger): The romantic drama, which is in English, Sanskrit and Malayalam, premiered at the International Film Festival Rotterdam earlier this year. The reimagining of an Indian myth revolves around two boarding school students inexplicably drawn to each other and how their relationship parallels the narratives woven into an ancient myth. The time transcending story written and directed by Rahat Mahajan uses multiple visual tools, including classical Indian dance.
Honey: This year’s festival has a group of short films being screened under the theme of Night Walks and Happy Never Afters, which revolves around brief encounters. It includes this 13-minute Bengali language short film about two childhood friends reuniting, to spend an evening together and finding deep feelings for one another.
Moshari: Another group of short films screenings from around the world are grouped under the title Feel the Rush of Adrenalin, which is about journeys altering the course of lives forever. The 21-minute Bengali language short film revolves around one girl venturing outside the safety of a traditional south Asian mosquito net and her sister being forced to face her demons.
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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