Aashad Ka Ek Din is an adaptation of the play that is based on Kalidasa’s life in three acts. Kalidasa is renowned as one of the greatest writers, poets and dramatists in the history of Sanskrit language.

Ashad.Ka.Ek.Din.AKA.One.Day.Before.the.Rainy.Season.1971.576p.MUBI.WEB-DL.AAC.2.0.x264-SHR.mkv

General
Container:  	Matroska
Runtime: 	1 h 54 min
Size: 	2.00 GiB
Video
Codec: 	x264
Resolution: 	1024x576 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	2 372 kb/s
BPP: 	0.161
Audio
#1:  	Hindi 2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/AF46155CC1D98E9/One.Day.Before.the.Rainy.Season.1971.576p.WEB-DL.MUBI.AAC.2.0.x264-SHR.mkv

Language(s):Hindi
Subtitles:English

The post Mani Kaul – Ashad Ka Ek Din AKA One Day Before the Rainy Season (1971) first appeared on Cinema of the World.

Quote:
Film is Based on Duvidha by Vijayadan Detha, it’s about merchant’s son, whose relationship with his young bride, Lachhi is thwarted by his work and a ghost who falls in love with her, resulting in the ghost soon impersonating the husband.

Mani Kaul - (1973) In Two Minds.mkv

General
Container:  	Matroska
Runtime: 	1h 21mn
Size: 	1.34 GiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	2 119 Kbps
BPP: 	0.200
Audio
#1:  	Hindi 2.0ch AC-3 @ 224 Kbps

https://nitro.download/view/99A0E123F68C4AC/Mani_Kaul_-_(1973)_In_Two_Minds.mkv

Language(s):Hindi
Subtitles:English here

The post Mani Kaul – Duvidha AKA In Two Minds (1973) first appeared on Cinema of the World.

Feature film version of Mani Kaul’s film on Dostoevski’s masterpiece that was shown at NYFF.

Synopsis:
Mani Kaul’s adaptation of Dostoevski’s Idiot is his most profoundly affecting film and a “tour de force” (Rajadhyaksha) that co-ordinates actors, settings and situations to a multiplicity. It his most realized attempt at making formalist film by moving the camera,without looking through the viewfinder to make Gilles Deleuze’s reading of cinema as an any-instant-whatever or equidistant instant to an any-space-whatever or any equispatial instant. This equispatial instant is created by destroying the dialectic between required and not-required, sacral and profane. Mani Kaul, analyzing his own films would state that, whereas his earlier works engaged a rarefaction of information, Idiot was the first to encounter a saturation of events.

The film has important actors in the lead role. Theatre director Ayub Khan-Din plays Prince Myshkin, Mita Vashisth plays Nastasya Mukhopadhyay (Nastasya Fillipova in the original), and Bollywood superstar Shah Rukh Khan shows of his trademark acting style in this early role as Pawan Raghujan (Rozoghin).

4.07GB | 3h 10m | 1280×960 | mkv

https://nitro.download/view/4DB77A0AC90C330/IDIOT_01.mkv https://nitro.download/view/DF28E588753FC48/IDIOT_01.SRT https://nitro.download/view/6806C07BA62E590/IDIOT_02.mkv https://nitro.download/view/AF6CA2350AB0433/IDIOT_02.srt

Language(s):Hindi
Subtitles:English

The post Mani Kaul – Idiot AKA Ahmaq (Feature Film Version) (1991) first appeared on Cinema of the World.

STUDENT DOCUMENTARY – IT CONCERNS TWO YOUNG COUPLES ON A VISIT TO THE AJANTA CAVES. THE FILM OBSERVES THEIR INTERACTION THEREBY WEAVING SUBTLE CHARACTER STUDIES ON A PERSONAL KEY.

YATRIK.mkv

General
Container:  	Matroska
Runtime: 	19mn 37s
Size: 	150 MiB
Video
Codec: 	x264
Resolution: 	640x480 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	
BPP: 	
Audio
#1:  	2.0ch AAC LC (Stereo)

https://nitro.download/view/1151F4F024966C3/YATRIK.mkv
https://nitro.download/view/6A1D746E5B70148/Yatrik.srt

Language:Hindi
Subtitles:English

The post Mani Kaul – Yatrik AKA Passenger (1966) first appeared on Cinema of the World.

Quote:
Kaul’s film addresses the writings of Gajanan Madhav Muktibodh (1917-79), one of the main representatives of the Nai Kavita (New Poetry) movement in Hindi. Muktibodh also wrote several short stories, one of which provides the film with its title, and critical essays. The film integrates episodes from Muktibodh’s writings with material from other source, including a reinvented neo-realism derived from Muktibodh’s literary settings. The narrative is constructed around 3 characters. Ramesh (Gopi) iis one who speaks and enacts Muktibodh’s writings, functioning as the first-person voice of the text; his two friends, , Madhav (Jha) and Keshav (Raina), are Ramesh’s antagonists and interlocuters esp. in the debates about modernity. Kaul gradually minimizes the fictional settings until, in the remarkably shot sequences of the factory, the audience is directly confronted with the written text itself. Kaul had begun his studies of Dhrupad music, the classical North Indian music known mainly for its extreme austerity, and derived a number of cinematic styles from this musical idiom which have continuously influenced his films since, e.g. the continuously mobile camera, the use of changing light patterns and the importance of improvisation.

1.37GB | 1h 46mn | 720×544 | avi

https://nitro.download/view/E16424D98149B49/Satah_Se_Uthata_Aadmi_1.avi https://nitro.download/view/CBD38BCEE750383/Satah_Se_Uthata_Aadmi_1.srt https://nitro.download/view/B638426D5549118/Satah_Se_Uthata_Aadmi_2.avi https://nitro.download/view/5CE9DFD32F6DBF7/Satah_Se_Uthata_Aadmi_2.srt

Language:Hindi
Subtitles:English

The post Mani Kaul – Satah Se Uthata Aadmi aka Arising From The Surface (1980) first appeared on Cinema of the World.

Quote:
This is the film that left the strongest impression on me. I have been lucky to engage it 3 times on 35mm.

Mani Kaul’s films create a sensory construct around their use of a selection of sounds to create a specific sensorial effect and images to create volume instead of (as in Hollywood) their denotative element of space. His films usually attempt to create an aesthetic where language is used beyond its denotative aspect, into its suggestive and rhythmic tonalities based on Anandvardhan’s 4th century text Dhwanyaloka about haiku like poetry forms and the aesthetic of suggestion they create known as ‘Dhwani’ which means ‘suggestive sound.’

Kaul constructs his trademark suggestive sensory bags in possibly his most explicit way. Juxtaposing images of nature with shots of Dal lake taken through a shikara and landscape shots taken with a helicopter or hot air balloon, the centerpiece of the film is an alaap in Raga Shree in the austere form of North Indian music, Dhrupad.

Kaul comments on the ‘tourist film’ nature of his project by having an American musician, Nancy Lesh, play a Western classical instrument, the cello in the austere dhrupad form in the Dagarbani style.

Kaul suggests the becoming through the inflation of a hot air balloon, its sound, the process of colonization as suggested by shots through the front of the Shikara representing the direction of colonization and a Bresson like sequence of horses with what seem to be their warrior- masters. The sensory collapse is denoted through a remarkable shot of the hot air balloon deflating which is where the Pakhwaj or Indian drum joins in. The text on the air balloon plays with a suggestive pun on the word ‘Indra Dhanush’ which means its textual meaning: (Lord) Indra’s bow as well as its banal meaning:rainbow.

The film has a remarkable soundtrack with sounds of birds interspersed together with sounds of water, the hot air balloon and other natural sounds.

The film ends with what is my most memorable film experience: a gradual tilt up from a glacier to show the shadow of the helicopter from which the film is being shot. The delayed machinated sound of the helicopter fades into the credits.

0.98GB | 26mn 0s | 1440×1080 | mkv

http://nitroflare.com/view/57BE6A63504CC03/Before_My_Eyes_%281080p%29.mkv

Language(s):None
Subtitles:None

The post Mani Kaul – Before My Eyes (1988) first appeared on Cinema of the World.

Quote:
In a poetic hour and a half, director Mani Kaul looks at the ancient art of making pottery from a wide variety of perspectives. Pots are shown in many settings, including a museum where a young child is mesmerized by the ceramics that ancient ancestors created from clay. The tradition continues and so does its magic, as potters are shown deftly working a lump of wet clay and fashioning it moment by moment into a slowly emerging shape. Kaul blends in myth and fables as well as the beauty of the art itself to create an inspiring look at a humble, everyday object.

Quote:
Episodic film about the ancient Indian tradition of terracotta sculpture and pottery and the several legends associated with this tradition. The artifacts involved include some of the oldest items of Indian civilization (from the Indus Valley, 2500BC) and have been, together with the legends associated with terracotta techniques, central to historical research into e.g. the origins of patriarchy, the shift from pastoral to agrarian systems, etc.

Quote:
“Mani Kaul was commissioned by the Festival of India 1985 to make a film about the art of clay pottery in India. His response was to wander in a tourist bus (with his film crew of twenty persons) up and down North India looking at the lives and longings of ancient communities of potters. Museum curators complained that Mani Kaul had not stopped in to film their exquisite pieces of one sort or another but Mani Kaul was not interested in a catalogue of fine things. He wanted rather to discover the myths and states of mind out of which pots were made and to render these states of mind through his own shaping of the medium of cinema. ‘I wanted,’ Mani Kaul says, ‘to know the anguish of the potter through my own anguish as a filmmaker.'” Satti Khanna

Quote:
Like his earlier film, Satah Se Uthatha Aadmi [L’uomo che si erge dalla superficie], on the Hindi writer Muktibodh, Mati Manas is multilinear and defies conventional distinction between a documentary and fiction film, thus creating, what Mani calls, “a non-fictional reality”. The film traces our entire cultural superstructure, myths, rituals etc. in the act of pottery making, one of man’s earliest occupations. Mani’s film starts with a museum exhibiting terracotta of the past and moves out to the vast central Indian plains which saw the rise of one of the most ancient civilisations of the world, and the extreme south with its ritualistic pottery, linking the pot – a symbol of creation – with the rhythm of life. ~ B.D. Garga

1.42GB | 1:30:55 | 640×480 | avi

https://nitro.download/view/0AD8E8A13BD609A/Mati_Manas_AKA_The_Mind_of_Clay_(1985).avi

Language(s):Hindi
Subtitles:English hardsubbed

The post Mani Kaul – Mati Manas AKA The Mind of Clay (1985) first appeared on Cinema of the World.