Prakasan

പ്രകാശൻ

photo-prakashan

Un film de / A film by :
Bash Mohammed

Fiction – 85 min – France / India 2017

Langue / Language  : Malayalam
(sous-titré français & anglais)
(French & English subtitled)

Avec / Cast :
Dinesh Prabhakar, Indrans, Syju Kuruppu, Laya Krishna, Parvathy
Subheesh, Nandan

Distribution & world sales : Overlap Films

Chef monteur / Supervising editor Reza Serkanian
Monteur
/ editor : Manoj
Image : Papino
Mixage / Mix : Resul Pookutty
Son / Sound Vishnu Govind
Musique / Music : 
Bijibal
Coproduction : Feelreel Cinemas

Synopsis :
Un jeune indigène des forêts tropicales du sud de l’Inde, Prakasan, quitte son village malgré sa tribu, rêvant de trouver un emploi auprès du gouvernement. Mais le seul job qu’il obtient en ville est d’éduquer les travailleurs de sexe, qui l’entraine dans une aventure drôlement décalé.
A young indigenous of the south Indian tropical forest, Prakasan, leaves his village despite his lover, dreaming to find a government job. But the only job he gets in the city is to educate sex workers, which leads him into a clumsy offbeat adventure.

Regardez la bande annonce / view the trailer :

Prakasan Affiche


Biographie / Biography

bash-mohammed
Bash Mohammed

Bash Mohammed est né à Brahmakulam, un petit village dans Thrissur, Kerala, Inde. Très jeune, il a montré son intérêt pour le dessin et la peinture et a gagné beaucoup de prix dans les festivals d’école et de collège. Après ses études au du collège des Beaux-Arts à Thrissur, il a commencé sa carrière de concepteur dans le monde de la publicité et a obtenu de nombreux reconnaissance pour ses publicités papiers et télévisées pour divers géants multinationales en Inde et à l’étranger.
Bash Mohammed a commencé sa carrier de réalisateur avec le long-métrage « Lukka Chuppi » (Inde/Malayalam 2015).
– 47e Festival International du Film d’Inde (Sélection officielle)
– 63e Indian National Film Awards (Mention spéciale pour l’un des acteurs principaux)
– 46e Kerala State Film Awards (Prix spécial du jury)
– Festival du cinéma indien de New York 2016
« Lukka Chuppi » a depuis gagné le statut de culte dans le cinéma Malayalam pour son traitement singulier de l’histoire des retrouvailles de six amis après longtemps.
« Prakasan » est son deuxième long métrage.

Bash Mohammed was born in Brahmakulam a small village in Thrissur, Kerala, India. He showed interest in drawing and painting at an early age and won many prizes in school and college festivals. After his studies at the College of Fine Arts in Thrissur, he began his design career in the advertising world made many award winning print and television commercials for various multinational giants in India and abroad.
Bash Mohammed debuted as film director with the feature « Lukka Chuppi » (India/Malayalam 2015).
– 47th International Film Festival of India (Official selection)
– 63rd Indian National Film Awards (Special Mention for one of the lead actors)
– 46th Kerala State Film Awards (Special Jury Award)
– New York Indian Film Festival 2016
« Lukka Chuppi » has since earned cult status in Malayalam cinema for its singular treatment of the story of six friends who meet after a long gap.
« Prakasan » is his second feature film.

prakashan-2


Festivals :mami-logo-menu
Sélection officielle
 / Official selection
19ème Festival de Film de Mumbai, Inde
19th Mumbai Film Festival, India
Du 12 au 18 octobre 201712th to 18th October 2017


 

Article de Hollywood Reporter
http://www.hollywoodreporter.com/review/prakasan-1050683

Dinesh Prabhakar plays a wide-eyed hillbilly in the big city in Bash Mohammed’s comedy-drama from Kerala.

A country bumpkin from the remote forests of Kerala wins a government job and is abruptly transplanted to a big, bustling city in Prakasan, the sophomore feature of Dubai-based director Bash Mohammed (Lukka Chuppi). Though its ending is telegraphed from the very first scenes, the scripting is basic and its humor at times painfully broad, this Malayalam comedy with a message becomes heartfelt and endearing thanks to a vivid turn by upcoming actor Dinesh Prabhakar, who is also credited as executive producer and casting director. It was one of the more direct and communicative films making their bow at the Mumbai Film Festival.

Mohammed has a very good eye for scenery and paints the village of Chamakudy as an Eden before the fall, where the tall, strapping Prakasan (Prabhakar) sports with his mates, girlfriend and mother. They live off the land and barely know what money is. Cavorting in forests straight out of Shangri-la, or Avatar, diving into pools under thundering waterfalls, eating the fruits of the earth and wearing knotted pieces of cloth as garments, these tribal people are depicted as living in a completely harmonious earthly paradise, with no problems on the horizon.

Yet the hero nurtures a dream. He wants to move to the city and see the world, and incredibly, he has been chosen to work on a World Bank health program by the regional government. Against the advice of his buddies and the emotional boycott of his women-folk, he says goodbye and crosses a mountain or two on foot, gets a lift from the friendly forest guards and for the first time in his life boards a bus.

Prakasan’s adventures in the city are all misadventures, from the dishonest people he meets, the smelly slum and unpalatable food, to the surprising revelation that his job is to educate local sex workers about the wisdom of using condoms on their clients. Given a large wooden dildo on which to illustrate the concept (which will come back to haunt him at exactly the wrong moment), he is dumped without further explanation in the red-light district. Unfortunately, he can’t tell a prostitute from a society lady, and misunderstandings dog him until he makes the climactic blunder that brings the story to a most satisfying close.

Prabhakar, who is now making his mark in Hindi movies, is a winning Tarzan-turned-bureaucrat; he keeps the audience totally on Prakasan’s side against the city folk, who are aptly described as “elephants running amok.” Yet more than villains, the latter seem like misguided souls who have forgotten the meaning of life and can barely connect with each other, much less the natural world.

Tech work is clearly on a budget, particularly in some of the city scenes. Editors Manoj and Reza Serkanian do a sophisticated job with the material they have, jumping back and forth in time so smoothly it’s hardly noticeable. Pappinu, the cinematographer, sharply contrasts the chaotic colors of the foul-smelling city with the deeply saturated ones of the natural world, like a multi-colored, heart-shaped natural pool that takes the breath away.

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