Author: Doug Cummings

In recent years, Iranian cinema has often been associated with Italian neorealism with its evocative, non-professional actors and direct representations of everyday life. But Behrooz Afkhami’s new film, The River’s End (Gavkhouni), suggests a much more European and formally adventurous mold that merges dreams and reality in a compelling meditation on the grieving process. That it’s also charming and enlivened with knowing humor makes it especially rewarding viewing. I managed to see it as part of UCLA Film and Television Archive’s ongoing festival of contemporary Iranian cinema last night, and immediately began hoping for a chance to see …

Last night I had the opportunity to see Mani Kaul, one of the key figures of the New Hindi Cinema of the late-’60s and ’70s, present his first feature, Daily Bread (Uski Roti, 1970), at the REDCAT theatre in Los Angeles. Kaul’s career has been associated with somewhat experimental and documentary films. “As for autobiographical, experimental or otherwise self-reflexive strands [in documentary], these are almost nonexistent in India,” writes Tom Waugh in Cine Action. “Virtually the only exception is Mani Kaul.” Although Kaul studied under famed Indian director Ritwik Ghatak, his primary inspiration came elsewhere. “I think …