Swaha-In the Name of Fire, Review: Burning issues and stark reality, in black and white

Deprived lower castes, without cash or savings, living in abject poverty and being targeted by members of higher castes, is a theme that we have seen and heard and read a lot about. We have also read, seen and heard on media, and learnt through vicarious narrations, that these adverse circumstances have slowly abated over the last 75 years or so, though, by no means have they been dealt with, in finality. There have been numerous films made on the subject. Swaha-In the Name of Fire is one more attempt at highlighting how terrible are the conditions in which members of the scheduled (lower; as categorised in the Indian Constitution) castes and tribes, live, die or get killed.

*The Indian Constitution, effective onwards 1950, recognises Scheduled Castes (SCs) and Scheduled Tribes (STs) as specific groups, facing historical disadvantages and provides them with protective measures and affirmative action.

*Article 46 of the Constitution mandates that the State promote, with special care, the educational and economic interests of the weaker sections, particularly SCs and STs, and protect them from social injustice and exploitation. The Scheduled Castes and the Scheduled Tribes (Prevention of Atrocities) Act, 1989 was enacted to prevent atrocities against SCs and STs and provide for special courts for speedy trials. In essence, the Indian Constitution aims to address the historical injustices faced by SCs and STs. Abhilash Sharma’s film reminds us that these weaker, and weakest, sections continue to suffer atrocities, are outcastes, and many of them live in barren villages, where there can be no farming. It is all there, in black and white. And it is brooding, sad and morose, which makes it not easy viewing for the average filmgoer, even at 99 minutes, but it is, undeniably, a conscientious effort, with some rivetting images.

Three major characters typify the milieu that Sharma’s world inhabits: A man, Nehura, who disposes off ‘unidentified bodies’; A jobless outcast, Phekan, who is unable earn anything to feed his skeletal family; his wife, Rukhiya, who has no milk to feed her infant or herself, while her husband looks around everywhere to find a daily wages job. Nehura, apparently, has no family, and wastes away his time consuming liquor, with his friends. He is approached by the police to cremate dead bodies of persons who are either unidentifiable, or persons who they do not want to get identified. His fees: two bottles of liquor.

Phekan walks miles and miles to find a daily wages job, to feed himself, his wife and baby, is either shooed away, or abused, or asked to sit in a queue for several hours in the hope that he might land a brick-maker’s job, or given day-jobs but denied wages, or lands a very low paying job, the earnings from which are robbed and he, himself, is badly beaten. His wife, Rukhiya, has no breast-milk (logically, because she herself is starving), to feed her baby, who keeps crying all the time. She has very little food left, just some crumbs, on which the two can survive only for a few hours. Phekan does not return home for two days, as he has been unable earn any money, and what little he earned, has been robbed from him, by another daily wager. After many failed attempts at earning, recurring abuses and beatings, Phekan begins to lose control of his senses. Waiting in vain for her husband to come back with some food, Rukhiya feels accursed, ventures out to search for him and hallucinates about her shadow, which asks her to sacrifice her child.

A joint effort of Shilpee Bhardwaj and Abhilash Sharma, the screenpl

Swaha-In the Name of Fire, Review: Burning issues and stark reality, in black and white

Deprived lower castes, without cash or savings, living in abject poverty and being targeted by members of higher castes, is a theme that we have seen and heard and read a lot about. We have also read, seen and heard on media, and learnt through vicarious narrations, that these adverse circumstances have slowly abated over the last 75 years or so, though, by no means have they been dealt with, in finality. There have been numerous films made on the subject. Swaha-In the Name of Fire is one more attempt at highlighting how terrible are the conditions in which members of the scheduled (lower; as categorised in the Indian Constitution) castes and tribes, live, die or get killed.

*The Indian Constitution, effective onwards 1950, recognises Scheduled Castes (SCs) and Scheduled Tribes (STs) as specific groups, facing historical disadvantages and provides them with protective measures and affirmative action.

*Article 46 of the Constitution mandates that the State promote, with special care, the educational and economic interests of the weaker sections, particularly SCs and STs, and protect them from social injustice and exploitation. The Scheduled Castes and the Scheduled Tribes (Prevention of Atrocities) Act, 1989 was enacted to prevent atrocities against SCs and STs and provide for special courts for speedy trials. In essence, the Indian Constitution aims to address the historical injustices faced by SCs and STs. Abhilash Sharma’s film reminds us that these weaker, and weakest, sections continue to suffer atrocities, are outcastes, and many of them live in barren villages, where there can be no farming. It is all there, in black and white. And it is brooding, sad and morose, which makes it not easy viewing for the average filmgoer, even at 99 minutes, but it is, undeniably, a conscientious effort, with some rivetting images.

Three major characters typify the milieu that Sharma’s world inhabits: A man, Nehura, who disposes off ‘unidentified bodies’; A jobless outcast, Phekan, who is unable earn anything to feed his skeletal family; his wife, Rukhiya, who has no milk to feed her infant or herself, while her husband looks around everywhere to find a daily wages job. Nehura, apparently, has no family, and wastes away his time consuming liquor, with his friends. He is approached by the police to cremate dead bodies of persons who are either unidentifiable, or persons who they do not want to get identified. His fees: two bottles of liquor.

Phekan walks miles and miles to find a daily wages job, to feed himself, his wife and baby, is either shooed away, or abused, or asked to sit in a queue for several hours in the hope that he might land a brick-maker’s job, or given day-jobs but denied wages, or lands a very low paying job, the earnings from which are robbed and he, himself, is badly beaten. His wife, Rukhiya, has no breast-milk (logically, because she herself is starving), to feed her baby, who keeps crying all the time. She has very little food left, just some crumbs, on which the two can survive only for a few hours. Phekan does not return home for two days, as he has been unable earn any money, and what little he earned, has been robbed from him, by another daily wager. After many failed attempts at earning, recurring abuses and beatings, Phekan begins to lose control of his senses. Waiting in vain for her husband to come back with some food, Rukhiya feels accursed, ventures out to search for him and hallucinates about her shadow, which asks her to sacrifice her child.

A joint effort of Shilpee Bhardwaj and Abhilash Sharma, the screenpl

Tribeca: Arquette's energetic spin on (a lightly fictionalized) Hunter S. Thompson and the women in his orbit premiered at TIFF in 2023, but looking to make a version a touch more "American," the first-time filmmaker went back to the editing room. As she tells IndieWire, the process was unexpectedly edifying.

The ICO had a really energetic and exciting start to 2025 with the 12th edition of our flagship training course, Cultural Cinema Exhibition 2025, which ran from 11 to 17 January in London. We call CCE our ‘flagship’ at the Independent Cinema Office because it strikes to the heart of our mission to champion the […]

The post Cultural Cinema Exhibition 2025: The ICO’s Flagship Course Returns appeared first on Independent Cinema Office.

Baha Mar, the Caribbean’s premier luxury resort destination, is proud to announce its role as the official host of the 19th Annual Bahamas International Film Festival (BIFF). This year’s event, held from November 13-17, will celebrate the artistry and vision of Caribbean filmmakers, showcasing their work in a breathtaking setting that merges world-class luxury with Bahamian culture.

“We are excited to celebrate the 19th annual Bahamas International Film Festival at Baha Mar, the leading destination for arts and culture in the Bahamas,” said Leslie Vanderpool, BIFF Founder and Executive Director. “Baha Mar’s dynamic community of artists and guests continually elevates the appreciation of the arts across the islands. This partnership is a perfect fit for our aspiring artists and visionaries.”

Located in the vibrant heart of Nassau, Baha Mar is a beacon of luxury and cultural celebration, offering festival-goers a truly immersive experience. From curated encounters with the island’s native flamingos to authentic Bahamian culinary workshops at The Kitchen, guests can connect with the island’s essence in an extraordinary setting. Against the stunning backdrop of Baha Mar’s extensive art collections and two renowned galleries, this partnership with BIFF underscores the resort’s dedication to nurturing arts and culture, creating a meaningful platform for Caribbean filmmakers and a deeper appreciation of Bahamian heritage.

“We are delighted to host the Bahamas International Film Festival, which aligns perfectly with Baha Mar’s vision to celebrate culture and creativity in the region,” said Graeme Davis, President of Baha Mar. “BIFF brings an inspiring community of artists and film enthusiasts to Nassau, and together, we’re creating an experience that will elevate Bahamian film on the world stage and provide an unforgettable celebration of storytelling and talent.”

Baha Mar is set to host an exclusive festival, commencing with the debut of the eagerly awaited biographical film, "They Call Me Peanuts". Celebrating the life of Peanuts Taylor, the event will feature live performances from first and second generation of John and Becky Chipman that perform at the former Drum Beat club and a performance from a rising singer-songwriter, KTYA, setting an energetic ambiance for a weekend dedicated to film. Participants can anticipate a variety of screenings, including "Ocean's Rose, Hazard", with a star-studded cast featuring Sosie Bacon, Dave Davis, and Alex Roe, and "Eddie Minnis: Ting An’ Ting", a tribute to the notable Eddie Minnis. The festival will conclude with a screening of "Old Guy", a film directed by the respected Simon West and produced by BIFF veterans Jib Polhemus, Norm Golightly, and Martin Brennan. This film, which boasts a prestigious cast including Christoph Waltz, Lucy Liu, and Cooper Hoffman, is set to release inQ1 of 2025. All screenings, totaling over forty, will take place at the Baha Mar New Providence Lawn Pavilion.

Beyond the screenings, festival attendees can look forward to an array of engaging events,including insightful industry panels with film experts, celebrating the intersection of Caribbean culture and global cinema.

 

The BIFF panel event schedule is as follows: On Wednesday, November 13, from 5:00 PM - 7:00 PM, a Masterclass by Dorian & Simone Missick will take place. The following day, November 14,features a Mix & Mingle session and Film For A Cause Presentation by Jon Fitzgerald, a leading film expert, from 6:30 PM - 7:30 PM. On Friday, November15, join Marj Galas of the Associations of Film Commissions Internatio

The American Film Market® (AFM®) announced the current lineup of participating Exhibitors for its upcoming 45th edition, scheduled for November 5-10, 2024. This year marks a significant milestone as the AFM relocates to the Palms Casino Resort in Las Vegas for the first time.

With AFM still four months away, Exhibitor registrations are surging, with early sign-ups far surpassing previous years. Currently, 145 sales, production, and distribution companies, along with international trade organizations, film commissions, and national umbrella stands from 25 countries have secured spaces in The Palms’ Fantasy Tower, AFM’s designated hub. The ongoing influx of Exhibitor commitments establishes serious momentum for the Las Vegas show and indicates that AFM 2024 will exceed recent participation levels.

Exhibitors to date include major international companies and organizations such as A24, AGC Studios, Altitude Film Sales, Anton, Arclight Films, The Asylum, Bankside Films, Black Bear Pictures, Blue Fox Entertainment, Charades, Cinema Management Group, CJ ENM, Cornerstone, Embankment Films Limited, The Exchange, Fantawild Animation Inc., Film Factory Entertainment, Film Mode Entertainment, Film Seekers, FilmNation, Gaumont, GOODFELLAS /Wild Bunch International, HanWay Films, Highland Film Group, Inc., Indie Rights, Lakeshore, Lionsgate, Myriad, NEON, Pathé Films, The Playmaker Munich, Protagonist Pictures, STUDIOCANAL, Telepool GmbH, The Match Factory, Trust Nordisk, Unifrance, The Veterans, Vision Films, Inc., Voltage Pictures, WestEnd Films, WME Independent, and XYZ Films, among many others.

Buyer and Attendee participation is also running strong since registration opened in mid-June, with participants from 45 countries already registered. Organizers estimate total participation to come from more than 80 countries.

Early commitments from Exhibitors and Buyers underscores the event’s global significance and returning confidence in the business.  The convenience of hosting all participants and Market activities in a single location, including AFM Screenings at The Palms’ Brenden Theatres and The AFM Sessions, also is welcomed by Exhibitors and Buyers alike.

AFM 2024 will be a landmark event for global content, offering unparalleled opportunities for discovering the newest independent film and TV productions and projects and an energetic and efficient environment for business transactions, networking, knowledge sharing, and educational opportunities. Further details about AFM Exhibitors and the comprehensive event schedule, conferences and speakers will be announced in the coming weeks and months.

For the Current List of AFM Exhibitors, visit: americanfilmmarket.com/exhibitor-list-2024.

For More Information on AFM and to Register, visit: americanfilmmarket.com.

About the American Film Market® (AFM®)
The AFM is where the global film and television business comes to life every November. The only independently produced international sales market, hundreds of finance, production, sales and distribution companies and thousands of professionals from every segment of the industry, convene at AFM for six days of discovery, development, deal making, networking, marketplace discussions and world-class conferences. The AFM is produced by the Independent Film & Tel

Esther McGregor was sure she’d screwed up her audition to Pedro Almodovar’s hotly-anticipated English-language debut “The Room Next Door.” Shooting a short film at the time (as a favor) and not feeling too hot about it, the hyper-creative and delightfully energetic actress, model, musician and tattoo artist (and unashamed “Nepo Baby” — more on that […]

The Curtinhas program brings back Curtas' most energetic and entertaining films. With sessions designed for three different age groups, M/3, M/6, M/9, the program is not just about films, but also fun workshops around this year's theme, Magic Forest.

ATLANTA, GA (March 22, 2024) — Today, The 48th annual Atlanta Film Festival + Creative Conference (ATLFF) revealed key programming highlights, including the full lineup of selected works from more than 7,500 submissions.  The film festival and 14th annual Creative Conference, which is the festival’s educational programming, will take place Thursday, April 25 - Sunday, May 5, 2024 at the Plaza Theatre and Tara Theatre in Atlanta and virtually. 

While 118 countries are represented in the selections, more than 24% of films have ties to Georgia filmmakers.  The 142 total announced creative works from submissions will feature diverse filmmakers who continue to uplift voices and stories from around the world. Eleven Marquee screenings will combine Hollywood star power with the best of independent film.

“We're so excited to be bringing another edition full of artful, challenging, and flat-out fun films to Atlanta this spring. When we make selections for ATLFF, we always follow our sense of discovery, of seeing what movies will be in the years to come. And we think anyone visiting the festival this year will come away knowing what we know, that cinema has a really rich future ahead of it.”
Jonathan Kieran, Programming Director, ATLFF 

Kicking off a robust slate of Marquee programming that will be presented throughout the 11-day festival, the Opening Night presentation of director Michael Showalter’s “The Idea of You” will take place at the Plaza Theatre on Friday, April 26. Anne Hathaway stars as Solène, a 40-year-old single mom who begins an unexpected romance with 24-year-old Hayes Campbell (Nicholas Galitzine), the lead singer of August Moon, the hottest boy band on the planet. 

The Closing Night presentation of director Greg Kwedar’s “SING SING,” will take place at the Plaza Theatre on Saturday, May 4. The film follows Divine G (Coleman Domingo), imprisoned at Sing Sing for a crime he didn't commit, as he finds purpose by acting in a theatre group alongside other incarcerated men in this story of resilience, humanity, and the transformative power of art.

Some highlights of the Marquee programming from celebrated filmmakers and Hollywood studios announced today include narrative features “Brief History of A Family,” about a middle-class family whose fate becomes intertwined with their only son's enigmatic new friend in post one-child policy China; “I SAW THE TV GLOW,” about a teenager who’s just trying to make it through life in the suburbs when his classmate introduces him to a mysterious late-night TV show, a vision of a supernatural world beneath their own; and documentary “Luther: Never Too Much,” that chronicles the life of an iconic musical performer, from childhood musical talent to worldwide fame. 

Since its founding, diversity in programming has been a cornerstone of ATLFF’s mission, demonstrated by their lineup of 29 feature-length films, 90 short films, and 22 creative media selections. Of these selections, 49% are directed by filmmakers who identify as female or non-binary, and 59% are Black, Indigenous, or People of Color (BIPOC). 

Five specialty tracks will return to the 2024 festival including: New Mavericks, celebrating excellence in film from female and gender non-conforming directors and leads; ¡CineMás!, focusing on Latin American culture; Noire, uplifting Black filmmakers; Pink Peach, featuring films with LGBTQ stories and characters; and Georgia Films, highlighting product