Manal Kayiru 2 (2016)
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Two actors, as their make up is applied, talk about the size of their parts. Then into the film: Laurence Sterne's unfilmable novel, Tristram Shandy, a fictive autobiography wherein the narrator, interrupted constantly, takes the entire story to be born. The film tracks between "Shandy" and behind the scenes. Size matters: parts, egos, shoes, noses. The lead's girlfriend, with their infant son, is up from London for the night, wanting sex; interruptions are constant. Scenes are shot, re-shot, and discarded. The purpose of the project is elusive. Fathers and sons; men and women; cocks and bulls. Life is amorphous, too full and too rich to be captured in one narrative.
'I hate luv storys' is the maxim Jay lives by. But as an assistant director to Veer, the most famous romantic filmmaker of Indian Film Industry, Jay has little option but to live with larger than life, glossy, cinematic love on an everyday basis. Things only get worse when he is made to work under the new production designer on the film⦠Simran, with whom he shares the strangest first encounter! Simran loves luv storys; So much so that even her life has begun to resemble one. With her ideal job and the perfect boyfriend, Raj, she lives a blissful, dreamy life; One that is rudely interrupted by Jay's cynicism. The turmoil's of Jay and Simran's life, is ironically interweaved with the Luv Story that they are working onâ¦
He is cute. He's shrewd. The girls love him. The cops hate him. He can't speak but is always talked about. His naughty antics will make you scream, but he will never listen. Cos he can't! Next summer ride a rollercoaster of emotions with Barfii - the Chalu Chaplin!
Amélie, a young Belgian woman, having spent her childhood in Japan, decides to return to live there and tries to integrate in the Japanese society. She is determined to be a "real Japanese" before her year contract runs out, though it precisely this determination that is incompatable with Japanese humility. Though she is hired for a choice position as a translator at an import/export firm, her inability to understand Japanese cultural norms results in increasingly humiliating demotions. Though Amelie secretly adulates her, her immediate supervisor takes sadistic pleasure in belittling her all along. She finally manages to break Amelie's will by making her the bathroom attendant, and is delighted when Amelie tells her the she will not renew her contract. Amelie realizes that she is finally a real Japanese when she enters the company president's office "with fear and trembling," which could only be possible because her determination was broken by Miss Fubuki's systematic torture.
The Devil's Disciple is a 1959 film adaptation of the George Bernard Shaw play of the same title. The Anglo-American film was directed by Guy Hamilton who replaced Alexander Mackendrick and starred Burt Lancaster, Kirk Douglas, and Laurence Olivier. Mary Grant designed the film's costumes.
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