Interesting Choices at SAIFF
By Mo Shah

The South Asian International Film Festival (SAIFF), hosted in New York in November, proves that there is an audience for thought-provoking cinema outside of South Asia; in fact, many of the movies played to packed houses.

With much fanfare, the South Asian International Film Festival (SAIFF) slipped into and out of the New York festival circuit leaving much to be desired, and much to look forward to, in its second-coming. Initially, the daunting task of condensing a plethora of films from South Asia into a handful of meaningful selections was executed surprisingly well. The selection ranged from Gurinder Chadha’s much hyped Bride and Prejudice to Javaid Sheikh’s Lollywood fest, Yeh Dil Aapka Hua. But if the SAIFF’s itinerary was solely based on box office receipts or commercial buzz, then this festival would have been crippled from day one. Fortunately, while exhibiting many of the trappings of a South Asian affair (shows did not start on time, and the after parties were a frustrating disappointment), it was the brave and sometimes fascinating film selections that were the true stars of this production. From courageous explorations of Hindu-Muslim violence in India (Black Friday, Final Solution) to thought provoking short-films, and even a mature, multi-layered documentary on everyone’s favorite Bollywood icon, Sharukh Khan – the schedule was, for the most part, exciting. The SAIFF proves that there is an audience for such thought-provoking cinema outside of South Asia, in fact, many of the movies played to packed houses. To put it another way, South Asian films are in high demand, so it’s time to deliver the goods.

	SAIFF Pictures
	SAIFF Website

Bride and Prejudice (2004)
Perhaps no other film this year has been more eagerly anticipated by the South Asian diaspora than Gurinder Chadha’s Bollywood-meets-Hollywood extravaganza, Bride and Prejudice. The hype is no small surprise – hot on the heels of the international blockbuster Bend it Like Beckham (a film that has made Chadha a household name in her native England), and starring the dazzling Ashwaria Rai and Martin Henderson (can you say, eye-candy?), it would be hard to let audiences down. Chaddha however, disappoints all, and although the festival opened to a packed house for this film, Bride and Prejudice was one of the weakest entries in the catalogue. Just because Ashwaria Rai looks stunning, doesn’t make her a good actress, she still showcases that without strict direction, she is simply a two-dimensional thespian. In fact, the entire film, from plot, to characters to emotional involvement was razor thin. Sure there are a few laughs (Chadha once again employs the conventional “Hi, I’m Indian, look how funny I can be in front of Westerners” joke that she’s been recycling since the Nineties). If anything, Bride and Prejudice proves beyond a reasonable doubt, that without sole, having the right ingredients can still lead to complete disaster.

Meenaxi (2004)
This haunting, meditative and singular work is the brainchild of M.F. Hussain and his son Qwais. From the get-go it is obvious that this is the work of an artist – the visuals are simply breathtaking and the storyline is often Felliniesque in its fractured genius. There is no right or wrong way to read this film, and like all great works of art, it is left entirely to the viewers’ interpretation. The story revolves around a writer and his somewhat enigmatic muse, Meenaxi (Tabu, playing her role with vamp-perfection), who seems to embody so many personae, that it is hard to differentiate fact from fiction, and true drama from showmanship. At its very core, Meenaxi attempts to explore the relationship between art and reality. A.R. Rahman’s score for this film is one of his very best, aiding Meenaxi to be both a visual and aural delight.

Shwaas (2004)
The highlight of the film festival was the stunning Shwaas. This South Indian film, directed by newcomer Sandeep Sawant, stole the entire festival with its simple, moving, and brilliant portrayal of a grandfather’s (Arun Nalawade) journey to the local town hospital to determine what is wrong with his grandson’s eyes. This seemingly simple plot unfolds into one of the most moving, heart-wrenching and life-affirming cinematic experiences in recent times. Made on a shoe-string budget of $150,000 – Shwaas is already a contender for the Best Foreign Film award at the Oscars. Six-year old Ashwin Chitale, who plays the young boy afflicted with an eye impediment, gives a pitch-perfect and often heartbreaking performance, as does Nalavade. This is a film that fully realizes the power of independent cinema and the sheer visceral beauty of raw story-telling. It is proof positive that some of the best films being produced today, are coming from South Asia, though not necessarily Bollywood.