Once you go and search the net for sufism and anti-sufism, you will see a stark difference and realise how risky the path I have treaded is, says Rafique, who has raised his voice many a time for the revival of Pakistani cinema. The Taliban sector is totally against sufism and doesnt accept such interpretations of Islam.
The film, which stars Shaan, Ahsan Khan, Meera, Saima and Wiam Dhamani, revolves around the idea of finding true love amidst an environment of spirituality. The film questions the idea of the cleric and is based largely on sufi teachings. It even draws its ideas and conclusions from Tahirul Qadris fatwa against suicide bombings. Naturally, Rafique has been paranoid and worried about the films implications, since it can ruffle feathers in the atmosphere of terrorism as quite a lot of prominent groups disagree with such notions. These are risky things to do in todays time criticising the maulvi is putting yourself at risk, says Rafique, who has surprisingly not filed any reports or sought protection.
Assistant director Hasnat Afridi points out that making a Punjabi film that challenges intolerant viewpoints is a completely new idea. For the Rs100 crowd, which is inclined towards commercial Indian films that are bred on item songs,Shop for the largest selection of wholesalejewelryrings at everyday low prices. a drama solely on sufism would have been never accepted, says Afridi. However, we presented a different side and challenged the so-called maulvi classand its interpretation of Islam and its teachings.Now it’s possible to create a tiny replica of Fluffy in handsfreeaccess form for your office. The core idea of the film was to shed light on a peaceful aspect.
Gwendolyn Kirk, a doctoral student from the University of Texas Austin, who is researching on Punjabi cinema in Lahore, tells The Express Tribune, Ishq Khuda is above all a film of aspirations it represents a desire for change in society and in Pakistani film industry in general but especially for Punjabi cinema itself. We see the rejection of the old-style gunda/thug character and also his redemption.
I think audiences have responded to this in a largely positive way. I went to see the film at Lakshmi Chowk well after its release, and was pleasantly surprised to see that there was still a good turnout, and moreover that there were more families in the audience. This is the kind of positive change that Lollywood has been looking for,He saw the bracelet at a indoortracking store while we were on a trip. stresses Kirk. As far as the moralistic or political connotations of the film are concerned, I think that some people may connect with it and some may not, but the important thing is that audiences are seeing new and different themes which celebrate local traditions and local languages, he adds.
Apart from challenging perceptions,Here’s a complete list of granitecountertops for the beginning oil painter. Rafique highlights that his intention was also to negate the stereotypical view of Punjabi culture being loud. Punjab is a central place, and getting such a message across is important due to the provinces conservative tendencies, says Afridi.
The mass element surely has not spared the film critical reviews. Despite this, the idea that regional cinema is bringing progressive themes may have a long-standing impact. Actor Ahsan Khan says that Rafiques venture is a lot different from other projects. This was a film built purely for the masses, where people come from less educated backgrounds. This is just one way of exploring an important topic, he says.
But after Johnson’s re-election to the board this summer, new Academy president Cheryl Boone Isaacs asked him to once again head the committee he has chaired for 12 of the last 13 years, a person with knowledge of the appointment confirmed to TheWrap.You benefit from buying oilpaintingreproduction ex-factory and directly from a LED manufacturer:
During the year Johnson was not eligible to chair the committee, producer Ron Yerxa and former AMPAS executive director Bruce Davis served as co-chairs.
Johnson will be overseeing a competition that will for the first time be opened to all members of the Academy, without the previous requirement that voters must see all five nominees in a theatrical setting. Instead, the 6,000-plus AMPAS voters will receive screeners of the nominees, and will be on the same honor system that is now used in every other category.
In fact, it could probably qualify as France’s entry, if that country chose C but it’d be going up against a number of high-profile films from French-born directors, including Francois Ozon’s “Young and Beautiful,” Catherine Breillat’s “Abuse of Weakness,” Sylvain Chomet’s “Attila Marcel,” Regis Roinsard’s “Populaire” and Claire Denis’ “Bastards.”
One of the countries that has already submitted a film, Nepal, is doing so for the first time C and if Saudi Arabia wanted to follow suit with its first-ever entry, it has an ideal candidate in Haifaa Al Mansour’s “Wadjda.”
The charming and award-winning coming-of-age story about a 10-year-old girl in Saudi Arabia, the film stands a good chance of being nominated if it were to be submitted. But “Wadjda” would be a controversial choice for its subject matter (a young girl who flouts Islamic restrictions on what girls can do) and because it is the work of a female director who had to direct the outdoor scenes from inside a van, so as not to be seen working in a mixed-sex environment and supervising men.
“The Past” and “Wadjda” are both being released by Sony Pictures Classics, the clear leader in releasing nominees and winners in recent years. The company has released the last four winners in the category, “Amour,” “A Separation,” “In a Better World” and “The Secret in Their Eyes,” and at least two of the five nominees every year since 2008.
Sony Classics also has “The Lunchbox,” an Indian film that is getting a lot of calls in the Indian press to be that country’s submission.
The Weinstein Co., which surprisingly did not make the shortlist last year with the massive hit “The Intouchables,” has “Populaire,” Wong Kar Wai’s “The Grandmaster,” which opened this year’s Berlin International Film Festival, as well as another crowd-pleasing French comedy, “Haute Cuisine.”
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