Chhaya kadam biography of michael

2016 Marathi romantic drama film

Sairat (transl. Wild) is a 2016 Indian Marathi-language social romantic tragedy film directed and co-produced by Nagraj Manjule under his banner Aatpat Production, along with Nittin Keni and Nikhil Sane under Essel Vision Productions and Zee Studios. Starring Rinku Rajguru and Akash Thosar in their debuts, it tells the story of two young college students from different castes who fall in love, sparking conflict between their families.

Nagraj Manjule conceived the story in 2009, basing it on his experiences of caste discrimination, but scrapped it when he decided that it was boring. After making Fandry (2013), he revisited the story and completed its script the following year. The screenplay was written by Manjule, and his brother Bharat penned the dialogues. The film was shot in Manjule's village, Jeur in Karmala Taluka of Solapur district in Maharashtra. Sudhakar Reddy Yakkanti was the director of photography, and Kutub Inamdar edited the film.

Sairat premiered at the 66th Berlin International Film Festival, where it received a standing ovation. It was released on 29 April 2016 in Maharashtra and several other locations in India, receiving positive reviews from critics. The film was a box-office success, and became

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Art with a capital ‘A,’ and acting, too

Martin Freeman’s splendid evocation of Rembrandt helps ‘Nightwatching’ rise above the self-conscious artistry of its composition

• By Ian Bartholomew / STAFF REPORTER

Peter Greenaway is one of those English directors who have embraced the European tradition of the art film, with its ostentatious intellectualism and its consuming passion for post-modernism. But he has occasionally flirted with the mainstream, most notably in his controversial film The Cook, the Thief, His Wife and Her Lover (1989), which had something that might be described as a narrative line and the recognizable faces of Michael Gambon and Helen Mirren. He is back in flirtatious mood with his most recent film Nightwatching, which is purportedly a biographical snippet from the life of the Dutch Renaissance painter Rembrandt, and which stars Martin Freeman of The Office in a truly stunning performance.

It doesn’t take many minutes into the film to realize that biography is the least of Greenaway’s concerns and that popular appeal is not uppermost in his mind. This is a film about Art, capital “A,” and why art matters, and how art both raises up humanity, yet may also destroy individuals. Freeman shows himself a powerful actor who is able to