ನೆನಪು ಕುರಿತೇ ಫಿಲಂ ಫೆಸ್ಟಿವಲ್

NATIONAL GALLERY OF MODERN ART BENGALURU

(Ministry of Culture, Government of India)

in collaboration with

Bangalore Film Society

invites you for the screening of films

 

All the films will start @ 5 pm. Entry is Free on first come first serve basis. All are invited!

Tea/coffee will be served after the screening. ​

 

Mapping Memories

Memory involves remembering and forgetting. It is the sum totals of our experiences both positive and negative. Memory is not always either arbitrary or objective; that is precisely why the act of remembering represents a peculiar way of humanizing history. Remembering the pleasant experiences makes living happy, and on the other hand remembering unpleasant experiences makes living unhappy and miserable. So here forgetting helps individual to forget unwanted and unpleasant experiences and memories and keeps a person happy. In this way, remembering the pleasant and forgetting the- unpleasant both are essential for normal living. Memory is defined as ‘the power to store experiences and to bring them into the field of consciousness sometime after the experience has occurred. Our mind has the power of conserving experiences and mentally reviving them whenever such an activity helps the onward progress of the life cycle. The conserved experience has a unity, an organisation of its own and it colours our present experience. Memories are a tricky thing. They often aren’t stable or reliable, changing with perception over time they shift as the passage of time affects them. The programme this month brings to you the cinematic representations of mapping memories.

 

Saturday 19th May 2018

Vertigo | Directed by Alfred Hitchcock | United States | 128 minutes | 1958

 

Alfred Hitchcock’s Vertigo remains one of the great films about memory’s dangerous allure. Its spiral-shaped narrative concerns detective Scottie Ferguson, who, haunted by a series of failures, makes an idol of memory and becomes imprisoned by the past. His dark obsession gives birth to one of cinema’s most unsettling love stories: a love affair between a man and the image of the dead woman he is determined to recreate.

 

Sunday 20th May 2018

Hiroshima Mon Amour | Directed by Alain Resnais | France, Japan |  90 minutes |  1959

 

Haunted by memories of World War II, specifically the Hiroshima bombings, a French actress and a Japanese architect  also dwell upon the memories of their now ended affair. Director Alain Resnais repeatedly cuts to the same scenes, ingrained in both their memories, but their very different perspectives lead to disagreements as their memories shape the way they interact and view the world. The tension continually and gradually crescendos until the quietly haunting finale, when they both confront the one memory at the heart of their troubles.

 

Tuesday 22nd May 2018

Solaris | Directed by Andrei Tarkovsky | Soviet Union | 166 minutes |1972

 

Stanislaw Lem’s novel Solaris begins in space, with scientist Kris Kelvin arriving on the Solaris space station, while Andrei Tarkovsky’s film adaptation begins on Earth. This highlights a key difference between novel and film: Where Lem explored the possibility of a planet-sized intelligent being conjuring creatures from the crew’s memories, such as Kelvin’s late wife, in order to learn from and interact with them, Tarkovsky takes the incarnational metaphor

a step further, confronting Kelvin not only with the apparition sewn from memories of his wife, but with the planet and home he left behind. In this light, the film’s closing homage to one of Rembrandt’s most famous paintings perfectly encapsulates Kelvin’s penitential journey.

 

 Wednesday 20rd May 2018

 Three Colors: Blue | Directed by Krzysztof Kieślowski |  France | 94 minutes | 1993

 

The first film in Kieślowski’s “Colors Trilogy” centers around a French woman Julie, who has lost her husband and son in a car accident. Shattered and numb, Julie quietly rages in post-traumatic stress via total seclusion, cutting herself off from anyone from her past—anyone with ties to her real life, and the sorrow that now lies within. Secrets, and emotional bonds, and music itself will continue to haunt Julie—new life or not—and will force her to come to terms with her own sorrow, and others who carry it too. The film’s score, “composed” by a fictional character in the story, is one that will be remembered years after the film has been viewed.

 

Thursday 24th May 2018

Mulholland Drive | Directed by David Lynch | United States | 146 minutes | 2001

 

David Lynch’s dark masterpiece contains two narratives. The first, revealed as a dream within the second, is explicitly concerned with the recovery of memory, as a plot device: the mysterious Rita seeks her identity, aided by the plucky Betty. The second narrative reveals that “Betty” is in fact Diane Selwyn, and that she is suffering guilt for ordering the murder of her unfaithful lover. But this “true” narrative depends, as much as the first does, on configuring and re-configuring memories. Both narratives are examples of the way in which memory must be ordered to give shape to human lives. To retreat from memory—to fail, in fact, to re-member the past—is to put an end to all narrative. The result, as the haunting final word of the film assures us, is “silence.”

 

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