19th Madurai International Documentary and Short Film Festival
2017
Sameera Jain is a filmmaker and editor,
and has worked for over 30 years in the arena of film and video. Sameera has
edited several award winning documentaries and some fiction feature films. Her
directorial ventures ‘Portraits of Belonging’, ‘Born at Home’ and ‘Mera Apna
Sheher’ (My Own City) have been acknowledged for cinematic excellence at
national and international festivals.
Sameera has been on film juries and participated in curriculum formulation at various institutions. She has been mentoring film students and filmmakers at diverse platforms and has been invited to teach filmmaking at many places, including her alma mater FTII. She has conceptualized, and is Course Director of a unique Creative Documentary program at SACAC (Sri Aurobindo Centre for Arts and Communication) in New Delhi.
Sameera has been on film juries and participated in curriculum formulation at various institutions. She has been mentoring film students and filmmakers at diverse platforms and has been invited to teach filmmaking at many places, including her alma mater FTII. She has conceptualized, and is Course Director of a unique Creative Documentary program at SACAC (Sri Aurobindo Centre for Arts and Communication) in New Delhi.
Films to be shown:
Portraits of Belonging: Films on two people in the old city of Delhi : Bhai Mian, a
kite maker, and Sagira Begum, an ancestral zari (golden thread) embroiderer.
Their life, work, habitat, skill, memories, thoughts and presence.
Bhai Mian
Bhai
Mian is a kite maker who lives in the last historic Delhi – Shahjahanabad, the
city built by Mughal emperor Shahjahan in the 17th century. The film
is a portrait of the man in his context, a man whose ordinariness barely
conceals his imagination and resilience.
Like
many others of the Muslim minority community in India, Bhai Mian’s life is a
struggle against all odds. It was in his youth that he first found magic in his
hands, while learning to make jewellery under the tutelage of his Ustad. But
later, inflation made it impossible to keep up the practice. New courses had to
be navigated, creative solutions found. A favourite pastime was turned into a
serious profession. Kite making and kite flying took him to several
competitions in different parts of the world.
Bhai
Mian continuously adapts the craft to new tastes. A portrait of a man who is a
survivor – existing with dignity, humour, even grace.
- Awarded
certificate of merit At MIFF
participation in
- The
International Competitive section of the Cinema du Reel, Paris, 1999.
-
FIFMA 2000, Belgium.
- The
Silver Images Film Festival, Chicago, USA.
- Film
South Asia '99, Kathmandu, Nepal.
-
Sakshi Film Festival, Bangalore, India.
-
Prakriti '99, Bhopal, India.
Portraits of Belonging: Sagira Begum
Sagira
Begum is seventy five years old, and does zari
(golden thread) embroidery. She practices an ancestral profession, like
many others in the last historic city of Delhi - Shahjahanabad. Her memories
are of better times – an environment more open and friendly, an easier
lifestyle, better wages.
In
Sagira’s world, there were friendly ghosts that used to play with children in
the lanes and bylanes of the old city. These have been replaced with strange
new ones, such as television. Ghosts that take away the power of prayer.
The
National Museum set in the manicured greens of New Delhi has ancient zardozi (zari embroidery) on display. Sagira recognises all the old stitches
when she sees the collection in the museum. Her own old city chokes with
congestion, and craftspeople sell ancestral handiwork for money to live on.
Sagira Begum's community will have to take up other work to survive.
For the
moment, she continues to embroider, and life in the old city somehow goes on.
Participation
in
-
Prakriti 1999, Bhopal, India
-
Mumbai International Short Film Festival (MIFF 2000),
India. (International Competition Section)
-
FIFMA 2, Belgium.
Mera Apna Sheher/ My Own
City
Dir: Sameera Jain; 56min; 2011
The experience of a gendered urban landscape - where the gaze, the voice and the body are at all times under surveillance. What if the multiple surveillances were to be turned upon themselves to observe what is contained in the everyday. The film explores whether there is a sense of ownership, of belonging to the city. Can a woman in the city, as she continuously negotiates the polarities of anxiety and comfort - be free?
Somewhere just under the surface of the `normal’ and in the lives of women cab drivers lie signs of reclamation of space and the gaze.
Dir: Sameera Jain; 56min; 2011
The experience of a gendered urban landscape - where the gaze, the voice and the body are at all times under surveillance. What if the multiple surveillances were to be turned upon themselves to observe what is contained in the everyday. The film explores whether there is a sense of ownership, of belonging to the city. Can a woman in the city, as she continuously negotiates the polarities of anxiety and comfort - be free?
Somewhere just under the surface of the `normal’ and in the lives of women cab drivers lie signs of reclamation of space and the gaze.
Participation
in
-
Yamagata International Documentary
Festival, Japan
-
PSBT Open Frame film festival, New
Delhi
-
SWIFF (Samsung Women’s International
Film Festival), Chennai
-
Persistence Resistance Film Festival,
New Delhi
-
6th Gorakhpur Film Festival
-
FTII (Film &TV Institute of
India), Pune
-
IIHS (Indian Institute for Human
Settlements), New Delhi
-
Studio Safdar, New Delhi
Among several other screenings
A Quiet Little Entry
Dir: Uma Chakravarthi; 44
min; 2010
Edited by Sameera Jain
The film is about an unknown woman, Subbalakshmi who
lived between the salt pans and thousands of other places in her mind and left
behind a trunk, a diary and scraps of paper. She had participated like many
others in the movement for independence in the 1920's and 30's but was forced
by circumstances to withdraw from active participation. It is a film about the
choices women are denied but who struggle to find other ways of expressing
their resistance.
The
film was shot on location in south India and uses archival material from both
the public and the family archive. It experiments with form by evoking the
protagonist through suggestion; it uses photographs, camerawork, music and a
voiceover to tell the story of Subbalakshmi.
A Season Outside
Dir: Amar Kanwar; 32 min; 1997
There is perhaps, no border outpost in the world quite like Wagah, where
this film begins its exploration. An outpost where every evening people are
drawn to a thin white line… and probably anyone in the eye of a conflict could
find themselves here. A Season Outside is a personal and philosophical journey
through past generations, conflicting positions, borders and time zones.
A Night of Prophecy
Dir: Amar Kanwar; 77 min; multiple
Indian languages; 2002
Through poetry emerges the possibility
of understanding the past, the severity of conflict and the cycles of change.
The film travels in the states of Maharashtra, Andhra Pradesh, Nagaland and
Kashmir. Through poetry you see where all the territories are heading towards,
where you belong, and where to intervene, if you want to. The narratives merge,
allowing us to see a mere universal language of symbols and meanings. This
moment of merger is the simple moment of prophecy.
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