IFFK 2023: Cinephiles explain what brings them to the annual festival of cinema every year

It is that time of the year when Thiruvananthapuram gets set for its annual tryst with the best of world and Indian cinema. As the 28th edition of the International Film Festival of Kerala begins on December 8 (Friday), MetroPlus catches up with cinephiles who talk about their IFFK experience.

For many residents in the city, age no bar, this is the time of the year to romance the screen. Long queues outside theatres, heated debates over hot tea and eats, headline-making panel discussions and fashionistas turning heads with their signature style are familiar vignettes of the IFFK.

So, for city residents Praveen Mohan and Murali Krishnan, the buzz around the IFFK was not an unfamiliar one. While Praveen has been a regular since 2011, Murali has been a delegate for the last five years.

Praveen Mohan
| Photo Credit:
Special Arrangement

Praveen, 35, vividly remembers his first look at IFFK. “It was exciting, especially watching foreign language films in the same theatre where I used to watch mainstream films. Since the theatres are spread across the city it was like entering a different world. A group of us friends, all of us aspiring filmmakers, gathered every year to enjoy and discuss cinema,” says Praveen.

It is true that the IIFK has shaped the viewing culture of several generations of film buffs in Kerala. UK Mrunal, who did his masters in filmmaking from the University of Reading, UK, has been watching films from his school days. “Since, my father, TK Rajeev Kumar (film director), has been closely involved with different editions of the IFFK, it is difficult to say when I began frequenting the screenings,” he says.

Filmmaker UK Mrunal 

Filmmaker UK Mrunal 
| Photo Credit:
UK Mrunal

In 2017, he helped his father direct the signature film of the fete and also participated as a delegate for the first time. Mrunal has been an avid viewer since then. He says the movies he watched has certainly shaped his decision to become a filmmaker. He recalls with a laugh how he created a furore when he got into a discussion with Shyam Benegal about new stipulations of the Censor Board during a panel discussion held on the sidelines of the festival.

Ahaana Krishna

Ahaana Krishna
| Photo Credit:
NM PRADEEP

Another city resident who found her way to cinema via IFFK is actor Ahaana Krishna. Although she was a regular at all the editions when she was in the city, once she left for Chennai to pursue her graduation, it became difficult to be a part of IFFK.

Keen cinephiles come from all across Kerala as delegates of IFFK. James Thakara, founder and frontman of the band, Thakara, has been attending the IFFK since 2011. “I was staying in Kochi with students of Cochin Media School in Kochi and heard about the festival from them. I travelled all the way to Thiruvananthapuram on my bicycle. Later, I used to come on my Activa. This time it’s on my Royal Enfield Himalayan,” says James.

James Thakara

James Thakara
| Photo Credit:
SPECIAL ARRANGEMENT

What brings them to the festival every year?

Learning experience

James says that each edition has helped him learn and unlearn various aspects of cinema. “The films have shaped my world view as I make it a point to watch as many as possible from all countries. That’s how you learn about their culture, history, politics etc.”

Murali, a photographer, writer and short-filmmaker, calls the festival a learning experience as one understands filmmaking, subjects to be chosen and the pulse of the audience.

Murali Krishnan

Murali Krishnan
| Photo Credit:
Special Arrangement

For Mrunal, what is special about the IFFK is that it screens the best movies from Asia, Africa and South America in addition to films that make an impression at high-brand festivals such as the ones at Cannes and Toronto. “The spectrum of films that IFFK screens is not seen at at any other festival,” he maintains.

Murali points out that the general perception about film festivals is that it includes only slow movies, called in jest as award padam (award-winning movie). “I remember, however, watching the Argentinian movie Back to Maracana at IFFK 2019. What fun it was! You don’t expect to see a light-hearted movie at a film festival.”

For actors Devaki Rajendran and Anumol, the IFFK was their ticket to world cinema. Both of them had their debut films screened at the IFFK.

Devaki Rajendran 

Devaki Rajendran 
| Photo Credit:
SPECIAL ARRANGEMENT

“As a student in Mumbai, I had heard a great deal about the IFFK. It was in 2017, however, when my movie, Sleeplessly Yours, was screened that I participated in the festival. It was an unforgettable experience. Since then, I have been a regular at all the editions. It is an opportunity to watch world cinema and interact with people who seem to breathe cinema.”

Actor Anumol

Actor Anumol
| Photo Credit:
Special arrangement

Engineer-turned-actor Anumol became an IFFK fan in 2012 when her film Akam was chosen for the fete. “Five of my movies were chosen in succession in the following years. It was an eyeopener for me – the films, the delegates, rubbing shoulders with filmmakers, who were household names, the endless cinema discussions…”

She recalls that her mother, Kala Manoharan, a fan of mainstream cinema, was awestruck when she watched French movie Amour. “She said loudly ‘so films can be made this way too’. It was about an elderly couple’s love for each other as they negotiate ailments and ill health! That is what IFFK does – open your eyes to different kinds of naratives, themes, approaches and filmmaking.”

This year too, her film Ennennum is part of the Malayalam Cinema Today category.

The festivals have been special for Praveen. “Sleeplessly Yours in which I worked as an associate director was screened at the IFFK in 2018. This time, I am an assistant director in Shalini Ushadevi’s Ennennum. I had watched her first film, Akam, at my first IFFK.”

Memorable experience

Each delegate usually has a fond IFFK memory to cherish. Ahaana, for instance, remembers watching Parasite on the big screen during an edition of the IFFK. “It was a mind-blowing experience. If I am a delegate, I watch at least 15 to 20 movies with my friends. The movies provide a great learning curve to understand culture, politics and society.”

While the increase in the number of delegates speaks of the festival’s popularity, both Praveen and Murali feel not all the delegates turn up to watch the films. “Some are there to grab everyone’s attention and there are quite a few who come only to have fun at the cultural programmes in the evening,” says Praveen.

Murali adds, “In 2019 I watched 38 films! There might be others like me who watch that many movies. But some of them skip screenings seeing the crowd not knowing that half the delegates have no plans to watch the movies.” Murali hopes for a better website this time. “It often crashes when the registration opens due to heavy traffic. I hope it has been revamped this time.”

Meanwhile, the magic begins as the curtain goes up on the first screening in the morning at theatres across the city.

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M Jayachandran on awards songs singers and journey in Malayalam film music industry

Surrounded by framed handwritten lyrics by renowned Malayalam lyricists, it is easy to talk music in composer M Jayachandran’s aesthetically designed office at his home in Thiruvananthapuram. With nine Kerala State Film awards for the best music director and one for the best singer (male) in his 28-year journey in Malayalam cinema, Jayachandran is certainly on song. A trained Carnatic singer and performer, Jayachandran’s passion for music and his songs have been a gamechanger in Malayalam film music.

Currently working on the score of Otta, Resul Pookutty’s maiden directorial film, Jayachandran’s zest for music is as fresh as it was 28 years ago when the engineer-turned-musician made his debut as a composer in Chanda (1995).

Says Jayachandran, “I have composed for over 140 films in 28 years. That has been my biggest award. An award is a reminder to be more dedicated to my work.”

His latest award is for his songs in Ayesha and the period film Pathonpatham Noottandu, films set in two different periods, geographical locations and with very different themes.

If Pathonpatham… is about the warrior Velayudha Panicker who lived in the 19th century in Travancore, Ayesha, set in West Asia, is about a deep bond between two women who did not even have a common language to communicate.

A wall in M Jayachandran’s study has been adorned with framed handwritten lyrics by lyricists like Gireesh Puthenchery and Rafeeq Ahamed.


 

A wall in M Jayachandran’s study has been adorned with framed handwritten lyrics by lyricists like Gireesh Puthenchery and Rafeeq Ahamed.
 
| Photo Credit:
Aswin V N

Agreeing that  it was a challenge to work on both the films at around the same time, Jayachandran says that for the period film, he had to understand the music of those times. “Malayalam language was more inclined towards Manipravalam (a mix of Sanskrit and Malayalam used during the medieval period in Kerala) then and the music may have been influenced a lot by Carnatic music. At the same time, I had to create something that a listener of today can enjoy.”

For Ayesha, he tuned in to his interest in Arabic and world music. “We recorded in Istanbul; The Czech Symphony played a part for one of the compositions in the film and we also recorded in Dubai. The work  involved a lot of research in West Asian music. I worked for nearly a year on the music of Ayesha.”

Versatile composer

According to him, versatility should be a music director’s calling card. “Even in our nature, we find so many contradictions, so many versions of the same person. A versatile music composer’s job is to do justice to all those shades of life.”

His effort, he says, is to try and improve with every song. “I don’t take much time to compose music in genres I am confident about. But to do that in areas that I am not confident about with the same ease is when I become versatile.” One has to listen a lot, including world music, and be open to new ideas to be able to cater to directors and listeners, irrespective of age, place and language, he adds.

Jayachandran believes he wins an award each time he is able to meet a film director’s expectations and brief for a song situation. “I believe in destiny. At the same time, it’s a person’s hard work, dedication and, most important, perseverance that helps him meet his destiny. Perseverance means one has crossed many hurdles and that one has fallen and then got up to start walking again.”

Tuning in

Initially, he found it difficult to compose in spaces that were not his comfort zones.  For his first film, he was allotted a room in Jaya Auditorium in Kozhikode. “I would sit in that closed room, an alien space for me, not clear about what I was going to do. I took about 10 to 15 days to compose two songs. But now, I can compose a song even while travelling.”

Jayachandran insists a composition is not made, it happens. “When a film director explains a song situation, I try to understand what he wants from me and I try to give him my version with my signature on it. I pray that the composition evokes in the director the feeling of ‘this is what I want.’ That is bliss for me. Awards come after that.”

Asserting that the best artistic creations are born in moments of tranquillity, he adds that a composer’s lived experiences, good and bad, will certainly inform and shape his music.

Music director M Jayachandran 
| Photo Credit:
Aswin V N

“For instance, while scoring the music for ‘Amma mazha kaar…’ in Madambi, I drew inspiration from my deep bond with my mother. I felt it was about my mother.”

However, a composer cannot have the luxury of letting his mood dictate his work. He believes the trick is to leave behind the baggage of mundane worries at home while stepping out for work. “Sometimes, when you are feeling euphoric, you may have to compose for a melancholic scene in the film. While scoring the music, you might slip into that mood and there might be a hangover.”

There were times when a background score, used with variations during different situations in a film, starts playing on a loop in his head. “Even three to four months later, it might keep reappearing in my mind. I pray for it to be erased from my mind. But then I realise even that is a blessing. It is only where there is that feeling, that one realises the value of a peaceful state of mind.”

Striking a chord

The versatile music composer has the rare distinction of winning a State award for the best singer in a film that also won him the award for the best music director. Tracing the evolution of that song ‘Melle…’ in the film Nottam, he recalls that the protagonist is a talented Koodiayattam artiste who lives in his own world, leading his life at his own pace.

Veteran P Jayachandran had recorded the song. “Till then Nottam’s director Sasi Parvaoor had been resonating with the track I had recorded in my voice. When he heard Jayaettan’s song, he felt that my version was more emotionally in sync with the character and the situation. There was a confusion since Jayaettan being senior and a wonderful singer at that had left his stamp on the number. But then Sasi sir decided go along with my track.”

M Jayachandran with the national award he won for the songs in Ennu Ninte Moideen.

M Jayachandran with the national award he won for the songs in Ennu Ninte Moideen.
| Photo Credit:
SREEJITH R KUMAR

Nevertheless, he asserts that he has no regrets about not being a singer. A seasoned Carnatic vocalist, Jayachandran explains that Carnatic music, one of the oldest music traditions “is so pristine and beautiful that it has to be approached with respect, dedication,  constant practice and meditation.”

“If you can’t do that, it is best not to perform Carnatic concerts. So now, I try not to give Carnatic concerts although I get many invitations. Moreover, to make a mark in this field, one must develop a bani (an artist’s distinctive style). That never happened in my case. Perhaps, it happens in my music compositions.”

I listen to…

I never listen to my songs. I listen to Madan Mohan, RD Burman, SD Burman, MS Viswanthan-Ramamoorthy…there are several musicians I follow. I am a big fan of Ilaiyaraaja sir. He is someone who rewrote the sound of Indian music. Till he came on to the scene, we had never heard that kind of music. It is the same with AR Rahman as well, another pioneer.

In Malayalam, I listen to my guru Devarajan Master, Dakshinamoorthy Swami, Babuikka (MS Baburaj), K Raghavan Master, Ravindran Master, Johnson, MK Arjunan… the list is long. I am also an avid listener of Western classical music and orchestral score of greats such as John Williams, James Horner and Hans Zimmer.”

He is reluctant to sing for movies as well, even when there are directors who try to persuade him for his emotional connect to the song that might be missing in the singer’s voice. “I am very happy where I am. A singer has many limitations. Jayachandran, the singer, is not good!” he says with a smile.

A song for a singer

He firmly believes that each song has a singer since “a song is an entity in which the vocal is an important part. It is through the singer’s voice that the import of the lyrics will be conveyed. Should it be mellow? Or aggressive, restrained or sung with an open throat?” ‘

He realised the importance of the song-singer connect while working on Kamal’s Celluloid, set in the twenties of the last century. “I knew we did not need the kind of voice we hear now, cultured, accent-neutral.  This was a period when mics were not on the scene. Singers like Kitappa had to sing loudly to ensure that people in the last row were able to hear the song. I wanted a singer with an open mind, without any prejudices about how a song should be sung. That is how I came across Vaikom Vijayalakshmi.”

“Of the talents I have seen, Viji is one of the best, worldwide. How many people know that? That is why I got her and Sreeram to sing the song. They elevated the song to new heights.”

Food for thought

I was and am a gourmand. During the pandemic, I got to spend more time at home. I began to pay attention to my health. Now, I follow dietary restrictions. Having the right food at the right time and to be detached from certain kinds of food are important. I am fond of biryani and parathas. Now, I have biryani once in a month and parathas almost never. It is true that we are what we eat. Yesudas (KJ Yesudas) sir had mentioned that long ago. I did not grasp the significance of it then. But now, I understand what he meant.

Ten years from now, where does Jayachandran see himself?  

“I would like to be a guiding light for young composers, musicians. Of the several songs I have made, more than 50 remain, which I hope will stand the test of time. But I want to make completely new songs. I would like to get song situations that will help me create these songs I have in mind.”

Considering his success in the Malayalam film music industry, why has he not worked in other language films? “I would have loved to work in Hindi, Tamil, Telugu and Kannada. I am also confident that I would be able to bring in my own signatured music. However, the fact is that I have not been given a chance. Perhaps it might happen in the future if there is someone who feels that my music will sync with their cinema.”

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