Indian Navy chief Admiral Karambir Singh on Monday said that nations whose actions are inimical to the interests of the India-Pacific and Indian Oceanic regions need to be called out and corrected.
Was speaking at the inaugural session of the Goa Maritime Conclave, which got underway in Goa on Monday, also said that India, as well as Sri Lanka and Maldives need to collectively deal with drug trade fuelled.
Assisting filmmaker Mani Ratnam to delivering successful films such as ‘Saathiya’, ‘Bunty Aur Babli’, ‘Soorma’ to the latest web-series ‘Call My Agent: Bollywood’, filmmaker Shaad Ali has observed the transformation in the business of Bollywood with a close-counter.
In conversation with IANS, the director opens up on how corporatisation not only helped to create a more organised work culture in the film industry.Shaad said: “I think corporatisation has given our film industry to grow for better and honestly it is the change that also helped us to survive in past crises or even global pandemics very recently. For instance, apart from films now, we have OTT platforms that have given huge exposure and exhibition platforms for our films.”During the pandemic, because of that, we have survived.
Now slowly the theatres are opening and people will go back to theatres as well; but now it is the time for coexistence.
I think it is very interesting how because of the way things are more organised now, not only every story finds its space, but also actors of different generations, of different ages, found their visibility in different platforms.”The show ‘Call My Agent: Bollywood’ is an Indian adaptation of a French show that was also released on Netflix, revolves around the hustle-bustle of a talent management company that are dealing with actors and their egos to maintain their stardom.
The show features Aahana Kumra, Soni Razdan, Rajat Kapoor, Ayush Mehta along with several special appearances from Farah Khan Kunder, Huma Qureshi, Jackie Shroff, Nandita Das, Ali Fazal, Lara Dutta and Dia Mirza, among others.”As we know that we had several cameos in our show, it was quite an interesting process to put the right talent at the right point in our narration to bring out the best for the show.
Since it is an adaptation of a show that was already popular, we did not change the format but a few things, that are quite typically Bollywood, have been added.”It is a drama-comedy genre so on the set of the show, the energy was quite a happy one. I guess, that somewhere is translating on-screen!.” said Shaad.’Call My Agent: Bollywood’ streams on Netflix.
Since Tora-san took his last bow, however, the industry has moved out into the world more proactively and successfully, motivated by an explosion in the number of non-Japanese venues and platforms showing Japanese content, from Asian-specialty festivals to streaming giants like Netflix and Amazon Prime.
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Made for $25,000 and originally screened at one Tokyo theater for a week, the Ueda Shinichiro zombie comedy “One Cut of the Dead” got a PR boost from an audience award at the 2018 Udine Far East Film Festival – Europe’s largest showcase of Asian popular cinema – and went on to become a word-of-mouth sensation in Japan, grossing more than $30 million.
Some stumbling blocks still remain for Japanese filmmakers. One is a lack of co-production treaties with other countries. Another is the production committee system of risk sharing among upwards of half a dozen companies from different corners of the entertainment sphere. This has no only led to risk-averse filmmaking, but also painfully slow decision-making that has frustrated overseas partnerships.
Directors higher in the industry pecking order like Palme d’Or winner Koreeda Hirokazu and fellow Cannes regular Kurosawa Kiyoshi have been able to escape some of these shackles. They have not only had box office hits abroad, with France being an especially welcoming market, but also filmed overseas.
Koreeda shot the 2019 Japan-French co-production “The Truth” entirely in France with stars Catherine Deneuve, Juliette Binoche and Ethan Hawke, and is now in post-production on “Broker,” his first all-Korean movie.