Tag Archives: Indian Film Festival of Los Angeles

Indian Film Festival of Los Angeles

The 17th edition of the Indian Film Festival of Los Angeles runs April 11th to 14th in Los Angeles with an impressive lineup of films and shorts at Regal L.A. LIVE: A Barco Innovation Center in Los Angeles. This is the festival’s third year in the state-of-the-art, world-class cinema in the heart of the city’s vibrant downtown district. Opening and Closing Gala presentations will take place at the Ahrya Fine Arts Theater in Beverly Hills with dinner receptions to follow hosted by Indian restaurant Spice Affair. Click here for the entire schedule.

Writer Arijit Basu has written a review of a short film, a film which captures a human angle to the strife in the Kashmir Valley. Join the lines outside the theater!

NOOREH: A film by Ashish Pandey (18 minutes)

A cherubic and bubbly young girl in a Kashmir border village tries hard to sleep to the sounds of nocturnal crossfire. She is lively, mischievous and is up to the usual antics a girl of her age does at school with her two equally charming friends, which includes skipping carefree through fields strewn with land mines as if it were the most normal thing for children to do.

Director Ashish Pandey captures the idyllic beauty of the valley with sweeping panoramic shots. However, this “Heaven on Earth” is punctuated with the incessant sounds of firing late into the night. Nooreh tries hard to sleep and is determined to live a normal life in such a scenario.

While studying for her exams, she stumbles upon the idea that the firing ceases if she stays up as late as possible. Soon, the rumor spreads like wildfire among the village folk that Nooreh’s late night vigil to remain sleepless results in the cessation of gunfire. One by one, the sleepy town wakes up. With a poignant night shot of lightbulbs coming on at night like glowing fireflies, the film ends with hope.

The short contrasts day and night, where day represents a sense of promise of what’s to come and night brings about unnerving foreboding. Paced quickly, you get a feature length feel in the short. Using locals as actors speaking the native dialect of Shima, one gets a first hand account of what the tension in the valley must be like for a child. Nooreh’s ‘life is beautiful’-esque flight of fantasy is a story that we can all relate to.

And, it is also true that despite the ground realities of valley strife, hope is what everyone there aspires to attain.

Arijit is a restless traveler, academic, film and history enthusiast. He is from Mumbai originally, by way of Texas. Currently he is exploring all that California has to offer.

Lovesick in San Jose

Check out this movie for yourself on Saturday Oct 20, 2018 in San Jose! Details here: https://indiacurrents.com/events/film-show-lovesick/

I watched Lovesick at the Indian Film Festival of Los Angeles, which comes with the usual homey discord of diasporic film festivals. The people behind me were passing tupperware filled with aloo gobhi. The harangued IFFLA staff member was pleading people to lower their voices as he introduced the filmmakers. I was at once amused — as a film student, I’m usually surrounded by a much more reverential crowd — and admittedly irked — I would like to hear the filmmakers’ introductions and nobody passed me any aloo gobhi. Under the wafting smell of aloo gobhi, I feel at home and alien. It was under these classically clashing circumstances that I watched Lovesick, which also seemed to be trying to navigate pleasing two worlds and settling neither here nor there.

The directors of Lovesick, Ann S. Kim and Priya Giri Desai, were both working at PBS when they came across an article about Dr. Suniti Solomon, the first person to find HIV in India. In the film, we learn that Dr. Solomon is more aptly described as the first person to even look for HIV in India, which she found widespread in sex workers. She then left what she described as “her prestigious academic job” to found a clinic for people with HIV.

Here’s where it begins to get wacky. Through founding the clinic, Dr. Solomon somewhat organically created a matchmaking service to help HIV positive people find partners, a practice which the directors claim is now common in Indian HIV clinics. Ann and Priya decided Dr. Solomon’s story was too big for a throwaway article, and through a mutual connection decided to meet her in person. Eight years later, they birthed Lovesick, a longitudinal documentary on Dr. Solomon’s life and the story of a successful couple she matched.

The film is humorous, poignant and tender. Dr. Solomon matches couples because she too was madly in love for many decades. Her late husband was Christian and she is Hindu, yet, in a tale as old as time, love conquered all. I’m a sucker for a sappy love story, so I was moved when I saw Dr. Solomon read out passionate letters her husband wrote to her, which she now keeps sealed in a ziplock bag. Later, she waters the purple orchids surrounding her husband’s picture. “His favorite flower,” she remarks, standing next to a shelf of Christian and Hindu paraphernalia. We begin to understand why Dr. Solomon is such an advocate for finding love.

Through her matchmaking service, we meet Manu and Karthik, two of her “lovesick” patients. Their faces are not shown for most of the film because HIV is still so taboo in India — best evidenced by a sequence in the film where Manu’s Mother asks if she can say the word “HIV.” Both Manu and Karthik are sweet and lovable, but there is a certain emphasis placed on the fact that neither was “to blame” for contracted HIV. Karthik was given tainted blood and Manu was married to a man who never revealed to her that he was HIV positive.

In fact, the communities Indian society would like to blame for HIV, are curiously absent from the film. For example, Dr. Solomon first found HIV in sex workers, yet not a single sex worker is interviewed in the film. We know HIV to predominantly exist in the gay community, but Dr. Solomon’s matchmaking service seems to only match heterosexual, or seemingly heterosexual, couples.  

As sweet and deserving of love as Manu and Karthik are, the fact that they are able to find it is predicated on his Brahmin caste and her educated background, as Dr. Solomon’s staff giddily relay in the matchmaking process.

By the end of the film, Manu and Karthik decide to allow their faces to be shown. The couple even spoke at the screening in New York and have committed to be the public faces for HIV clinics in India.

The film is an homage to the remarkable Dr. Solomon, who passed away before the film was released. At times, she even even goaded men into coming in to receive treatment by telling them they would only find love if they took care of themselves. She understood the interconnectivity between human wellbeing and love — and all of its accoutrements, like desire and compassion — and her own love for others will always be remembered.

Urvashi Pathania is a film-maker who writes from Los Angeles, where she attends the University of Southern California. You can learn more about her at urvashipathania.com.

This review was originally published by India Currents in April, 2018. It was edited by Culture and Media Editor Geetika Pathania Jain.

 

 

Lovesick: A West Coast Premiere

After discovering the first cases of HIV in India in 1986, Dr. Suniti Solomon left a prestigious academic job to build her own clinic focusing on treating HIV/AIDS patients. Several decades and breakthroughs in treatment later, her clinic is one of the highest regarded in the country and her patients are living longer lives. While surviving, some of

HIV infected Tcell

her patients are not thriving. Being Indian, they feel immense societal and personal pressure to marry, but simultaneously face a stigma of being HIV-positive. Now in the twilight of her impressive career, Dr. Solomon takes the next step in her treatment by creating a matchmaking service for those seeking marriage. Through the service we meet Manu and Karthik, two of her patients who want to share their lives with someone but are fearful they never will. Shot over eight years and told with compassion and care, filmmakers Ann S. Kim and Priya Giri Desai give us a surprising and hopeful story about the universal healing ability of companionship and love.

Priya Giri Desai’s work in print and broadcast media spans two decades and includes work for outlets such as LIFE magazine, PBS and independent film projects. Desai is a graduate of Duke University and a founding board member of The India Center Foundation, a cultural non-profit organization in New York dedicated to the study of the Indian subcontinent, the promotion of its cultural life, and the unique relationship between India and the United States. Ann S. Kim is an independent filmmaker who has reported on a range of science global health issues for public television and radio. From 2016-2017, Kim served as the first Chief Design Officer for the U.S. Surgeon General, bringing design thinking into government and urgent public health issues of addiction, opioids, and social isolation.

Lovesick had its world premiere at DOC NYC in November 2017. It will screen on April 14 at the Indian Film Festival of Los Angeles and again on April 29 at the International Film Festival Boston.

More info at lovesickthefilm.com