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Runanubandha – The He Without Him has been officially selected at the prestigious 41st Moscow International Film Festival

Bhubaneswar:15/4/19:Runanubandha – The He Without Him, the latest feature film from Odisha based production house Swastik Arthouse has been officially selected at the prestigious 41st Moscow International Film Festival 2019 (MIFF)  which starts from April 18. The film features as a part of the ‘Films around the world‘ section. It is the only Indian fiction feature film at the festival. The only other Indian presence at the festival is the documentary ‘Reason’ by Anand Patwardhan.

Earlier, this film was featured as one of the three Indian films at the International competition at 24th Kolkata International Film Festival last November. It then found a place in competition at the 11th Bengaluru International Film Festival last month. On April 12, the film premieres in UK and France with screenings at the Festival des Films Indiens de Toulouse in France and London Bengali Film Festival in UK. The film was also screened at 14th International Film Festival of Thrissur and at Nitte International Film Festival in Mangalore.

The film has been directed by acclaimed filmmaker and National Awardee Amartya Bhattacharyya and produced by Swastik Choudhury. It has already impressed several critics and renowned filmmakers. I have attached a press release regarding the film’s journey and film stills . The film features first time actor Priyanka Ghosh Roy as the protagonist character around which the film revolves. Swastik Choudhury also plays a very interesting character. Renowned Indian filmmaker Susant Misra plays a short cameo as an actor. The music of the film is scored by Kisaloy Roy, whereas the much iconic Rock star and the National award winning singer Rupam Islam (of Bangla Rock band Fossils) sings the title song. The film is shot in Kolkata and it captures some essential characteristics of the city in an unique way. Amartya has written, directed, shot and edited the film himself. The sound is designed by Sujoy Das of Filmstop Entertainment.

This film is the third feature film from the house of Swastik Arthouse which has earlier made two Odia films – Capital I and Khyanikaa (The Lost Idea), both critically acclaimed at various international film festivals round the world. Recently, the tally of number of film festivals that featured Khyanikaa reached twenty five – the most by an Odia film ever.

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About the film:
Runanubandha is a term used in spirituality which refers to the body’s memory, which comprises of genetic memory and memory of intimate physical connect. It is this memory which is said to bind a parent and a child, a husband and a wife or any other intimate relationships.
The film explores a daughter’s search for her father in the metropolis of Kolkata. The daughter Shatarupa, finds the voice of her father in a young man who comes to her life as a director. The paternal traits draw her towards him, but she finds herself trapped elsewhere between emotional complexities and simplicity.
The film also draws a parallel with the mythological tale of Lord Brahma, the universal father and creator, who was attracted to his own daughter Shatarupa (also known as Saraswati). The film unfolds the mystic journey of a daughter in pursuit of her father.

 

About Ashok Palit

Ashok Palit has completed his graduation from Upendranath College Soro, Balasore and post graduation from Utkal University in Odia Language and literture.. He has also carved out a niche for himself as a scribe of eminence after joining the profession in 1988. He is also an independent media production professional. He brings loads of experience to Advanced Media, Ashok Palit as a cineaste has been active in film criticism for over three decades. As a film society activist, he soared to eminence for his profound commitment to the art film appreciation and aesthetics of cinema. His mode of discourse is often erudite but always lucid and comprehensible marked by a perfect acumen so rare in the field. A film aesthete with an immense fond of critical sensibilities, he wrote about growth and development of odia cinema in New Indian Express, The Times of India, The Hindustan Times, The Asian Age and Screen. He has been working as an Editor for Cine Samaya from 2002-2004.. He had made solid contribution on cinema in many odia Dailies and weekly such as Samaj, Prajatantra, Dharatri, Samaya, Satabadi, and weekly Samaya.

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