Gurvinder Singh’s “Adh Chanani Raat” to be screened at the Rotterdam International Film Festival
Punjabi-language national filmmaker Gurvinder Singh’s upcoming feature, Adh Chanani Raat (‘Crescent Night’) will premiere at the prestigious 52nd Rotterdam International Film Festival (IFFR) to be held from January 26 to February 6. The film is part of the Harbor section which offers a haven of peace to the whole range of contemporary cinema that the festival defends.
Originally slated to stand physically, the IFFR has also gone online this year, for the second year in a row amid growing concerns over the spread of the Omicron variant of Covid-19 across Europe, making it the first major European film festival to take the virtual route in 2022.
A Contentflow Studios production, ‘Adh Chanani Raat’ is produced by Bobby Bedi of ‘Bandit Queen’ and Vipul D Shah, Manmohan Shetty and Rajesh Bahl.
“Adh Chanani Raat” is Singh’s third feature in the Punjabi film trilogy after “Anhey Ghorey Da Daan” (Venice Film Festival 2011, Orizzonti) and “Chauthi Koot” (Cannes Film Festival 2015, Un Certain Regard) at be adapted from literary works by well-known Punjabi authors.
It is also the director’s second feature film to take inspiration from Gurdial Singh’s novel of the same name following his acclaimed debut feature, “Anhey Ghorey Da Daan” (“Alms for a Blind Horse”).
Set in rural Punjab, ‘Adh Chanani Raat’ features an ensemble cast, including the acting debut of Jatinder Mauhar as Modan (noted Punjabi director of ‘Qissa Panjab’, ‘Mitti’, ‘Sarsa’ ), Mauli Singh as Sukhi (independent publicist / producer) and professional actors like Samuel John (Ruldu), Raj Singh Jhinger (Geja), Dharminder Kaur (mother). It was shot by Satya Rai Nagpaul.
Sharing his thoughts on the film, Singh says, “The film is about collapsing sorrow engulfing a silent agrarian land. Here is unwritten violence simmering beneath the surface in which the margins are pushed away in a breaking of the lines. fundamental human relations It is the violence that scripts the alienation of the being from his own I. It is also the ultimate resistance of the oppressed.
“Cinematically, for me, it’s the culmination of a journey that started with ‘Anhey Ghorey Da Daan’, tropes reduced to the essentials leading to an internalized and self-reflective form,” he adds.
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