Latest news with #Srishti
Yahoo
16 hours ago
- Entertainment
- Yahoo
Raindance Film Festival: ‘Nawi' Wins Best Int'l Feature and Debut Performance Awards
The 33rd Raindance Film Festival is wrapping up on Friday and has unveiled its jury awards. Nawi: Dear Future Me, which tackles child marriage and was Kenya's submission for the 2025 international feature film Oscar race, was honored as the best international feature. Its young star Michelle Lemuya Ikeny won the best performance in a debut feature award. The Kenyan-German coming-of-age drama was directors by the brothers Toby and Kevin Schmutzler, as well as Apuu Mourine and Vallentine Chelluget. The best documentary feature award went to Immortals, directed by Maja Tschumi, about 'strong-willed feminist Milo and ambitious filmmaker Khalili who, in the aftermath of the 2019 revolution, are the faces, eyes, and voices of an Iraqi youth that is relentlessly fighting for abetter future.' More from The Hollywood Reporter Polish Indie Kino Swiat Names New CEO 'Action Item' Treats Burnout as "Collective Condition, Silenced Crisis" (Exclusive Karlovy Vary Trailer) Comcast to Sell Sky Deutschland to Bertelsmann's RTL Group Matthew Losasso's Row won the best U.K. feature honor, while the discovery award for best debut feature went to Srishti, directed by Paul Antar. The Spirit of Raindance Award was presented to Alaa Aliabdallah's Palestine Comedy Club. Check out the full list of winners below. Best international featureNawi: Dear Future Me (directors Vallentine Chelluget, Apuu Mourine, Kevin Schmutzler, Kenya)Highlighting the plight of child brides in Africa, and acclaimed at multiple film festivals and at theAfrican Movie Academy Awards, Nawi: Dear Future Me follows a 13-year-old whose father is sellingher to a much older man for a herd of goats, and so she embarks on a journey to reclaim her dream ofjoining high school. Honorable mention: The Party's Over Best documentary featureImmortals (director Maja Tschumi, Switzerland/Iraq)An insight into a new generation that has known nothing but war since the US-led occupation,Immortals follows strong-willed feminist Milo and ambitious filmmaker Khalili who, in the aftermath ofthe 2019 revolution, are the faces, eyes, and voices of an Iraqi youth that is relentlessly fighting for abetter future. Honourable mention: Children In The Fire Discovery award for best debut feature (The Elisar Cabrera Award)Srishti (director Paul Antar, India)The story of a photographer, haunted by childhood guilt, who travels to remote Himalayan Sector K toinvestigate a mysterious phenomenon – this mystery/drama highlights the plight of children forced towork trawling through giant rubbish heaps in search of things that can be monetized. Best debut directorAlissa Jung, Paternal Leave (Germany/Italy)A champion at Berlin and BCN film festivals, Paternal Leave follows a teenage girl's journey to Italy'snorthern coast, seeking her unknown biological father. Best performance in a debut featureMichelle Lemuya Ikeny, Nawi: Dear Future MeHaving previously won the African Movie Academy Award for Best Promising Actor for herperformance in Nawi: Dear Future Me, teenage actress Michell Lemuya Ikeny now wins Raindance's'Best Performance in a Debut Feature' for her debut acting role, playing a schoolgirl in north-westernKenya forced to marry an older man. Best performance in a U.K. featureEdward Hogg, The Lonely MusketeerNominated for Most Promising Newcomer at the BIFAs in 2009 for his first film lead role in WhiteLightnin', and with further credits including A Good Woman Is Hard to Find and Imagine, English actorEdward Hogg now wins Raindance's best performance in a U.K. feature for his role in unique closed-room thriller The Lonely Musketeer. Best U.K. featureRow (director Matthew Losasso, UK)Shot on the open sea, and with a cast including Bella Dayne (Humans) and Sophie Skelton (Outlander),Row sees a woman wash ashore on a blood-stained rowing boat after a failed trans-Atlantic worldrecord attempt. With all her crewmates missing, presumed dead, she must piece together fracturedmemories of the ordeal to prove her innocence. Best director of a U.K. featureChristopher M. Anthony, HeavyweightStarring Nicholas Pinnock, Jordan Bolger and Jason Isaacs, Heavyweight follows a wildcard boxingcontender and his support team ahead of a title fight he doubts he can win. An intense & visceralexperience exploring a side of elite sport rarely seen. Honorable mention: Helena Berndl and Francesco Maria Gallo, In Symbiosis Best U.K. cinematographyBruce Jackson, The Lonely MusketeerShot in monochrome in one claustrophobic main location, The Lonely Musketeer is a taut, stripped-back mystery thriller and a masterclass in low-budget filmmaking. Spirit of Raindance AwardPalestine Comedy Club (director Alaa Aliabdallah, UK)When six Palestinian comedians hit the road to tour a stand-up show, their search for humour amidstthe injustice of everyday Palestinian life becomes a plea for humanity in the face of brutal war. Thisdocumentary feature is directed by Alaa Aliabdallah and produced by Raindance alumni CharlotteKnowles, previously CEO of the Independent Film Trust. SHORTS PROGRAMBest live-action shortLittle Rebels Cinema Club (director Khozy Rizal, Indonesia)Set in 2008, Doddy, a 14-year-old boy, tries to recreate an iconic scene of a zombie film with three ofhis best documentary shortThe Final Copy of Ilon Specht(director Ben Proudfoot, USA)From two-time Oscar winner Ben Proudfoot comes this intimate deathbed account of the unsungadvertising genius Ilon Specht who coined L'Oréal's iconic 'Because I'm Worth It' slogan in 1971, afour-word feminist manifesto that, against all odds, changed advertising animation short Larval (director Alice Bloomfield, UK)Living life in isolation, a girl dreams of luxury and beauty, fantasizing about possessing the looks ofher celebrity idol and winning the heart of her unrequited UK SHORT: THERE WILL COME SOFT RAINS (dir: Elham Ehsas, UK)Haunted by rising sea levels, a daughter digs up her father's grave to move his body to higher ground. Best of The Hollywood Reporter The 40 Best Films About the Immigrant Experience Wes Anderson's Movies Ranked From Worst to Best 13 of Tom Cruise's Most Jaw-Dropping Stunts
The Wire
4 days ago
- Politics
- The Wire
Delhi: Pro-Palestine Protest Met With Force; Detainees Allege Police Brutality, Harassment
New Delhi: The Delhi Police carried out lathi charge to disperse students and activists who had gathered to protest in front of the Israel Embassy in the national capital on Monday, June 23. Organised by the "Indian People in Solidarity with Palestine" (IPSP) in front of the Israeli Embassy, the protesters condemned the ongoing genocide in Palestine and to express solidarity with the "Global March to Gaza." It was also joined by the Revolutionary Workers' Party of India, Disha Students' Organization and Naujawan Bharat Sabha. Protesters burned photos of Israeli Prime Minister Benjamin Netanyahu, US President Donald Trump, and the Israeli national flag, and raising the slogans 'Free Palestine' and 'End the genocide in Gaza'. Protesters burn Israel flag, Trump and Netanyahu's posters outside Israel Embassy in Delhi. Photo: Vishal Students and activists who participated in the protest have alleged that the police physically assaulted them. Male police officers allegedly touched and harassed female protesters and detained them, which is against the law. Male protesters were allegedly slapped, had their clothes torn and were treated with extreme brutality by the police. Protesters also alleged that the police used casteist and communal slurs against them. Rauf, a visually impaired person associated with the Disha student organisation, was also allegedly subjected to police brutality. The protesters claimed that despite informing the police multiple times that Rauf is blind, police continued to assault him. Speaking to The Wire, Rauf said, "The Modi government is brutally repressing every pro-Palestine voice in India through its police and goons of RSS (Rashtriya Swayamsevak Sangh). A few days ago activists of IPSP and BDS India were brutally beaten and almost lynched in Pune by a mob led by local BJP leaders when they were protetsing outside Domino's outlet Pune." Around 5 PM, the police detained all the protesters and took them to Mandir Marg and Tughlak Road police stations. 'Beaten so badly, I nearly fainted' One of the protesters, Srishti, who suffers from respiratory issues, alleged that she was brutally beaten and detained by the police. This was despite fellow protesters warning the police about her health condition. As Srishti's condition worsened, she had to eventually be taken to RLKC Hospital. Srishti said, "When we reached outside the Israeli Embassy and began our peaceful protest, there were no female police personnels present. The male officers, some in civil clothes, started dragging and assaulting protesters, including women, to break the human chain we had formed. We have video evidence of this brutality. I was beaten so badly that I nearly fainted.' "I told the police I was unwell and that the protest was peaceful, but they didn't listen. My right knee got badly hurt, and then I started struggling to breathe. The bus was moving for 40-45 minutes during which I started fainting. The female constables refused to help and mocked me, saying I was acting. When they realised my condition was serious, they left me outside the hospital". Around 7 PM, the police gathered all the protesters at the Mandir Marg police station and seized their cameras and mobile phones. At that time, the police collected the residential addresses, mobile numbers and other personal information of all 30 protesters. Some of the protesters alleged that the police threatened to interrogate them further. Meanwhile, some of the protesters said that they were interrogated by the special cell of the police. Priyamvada, a protester, claimed, "The Delhi Police are carrying out brutal repression on the protesters. During the protest, the protesters were detained. The illegal custody and long interrogation of women activists after 6 PM shows how the Modi government has intensified its crackdown. The Modi government has clearly taken a stand in support of Israel and the ongoing genocide in Palestine.'
The Hindu
19-06-2025
- Sport
- The Hindu
Indians claim five gold medals
Indian wrestlers won five gold medals, including four in the women's section, at the Asian under-23 wrestling championships Vung Tau, Vietnam, on Thursday. Priyanshi Prajapat (50kg), Reena (55kg), Srishti (68kg), Priya (76kg) claimed gold medals, while Tanvi Gundesh Magdum (59kg) took a silver in women's competitions. Priyanshi defeated Mongolia's Munkhgerel Munkhbat 4-2, Reena beat Kyrgyz Aruuke Kadyrbek Kyzy 13-4, and Srishti outsmarted Chinese Yuqi Liu 10-0 in their respective finals. In a field of four, Priya won her three round robin matches to secure the top honour. In Greco Roman, Sumit (63kg) also won his three round robin matches to clinch the gold. Ankit Gulia (72kg) and Nitesh (97kg) picked up bronze.
The Hindu
16-06-2025
- Entertainment
- The Hindu
Hyderabad's Srishti art gallery unveils 15th edition of Emerging Palettes
In its 15th edition, Emerging Palettes returns to Srishti Art Gallery in collaboration with Goethe-Zentrum Hyderabad, presenting young contemporary artists who are pushing the boundaries of material and memory. Selected from over 300 entries, this year's 11 participating artists explore diverse mediums ranging from textiles and ceramics to steel, wood, and video installation. They craft textured narratives rooted in identity, belonging, and transformation. The final lineup — Aaryama Somayaji, Deepanwita Das, Farhin Afza, Hasan Ali Kadiwala, Manu N (Manushya), Moumita Basak, Nayanjyoti Barman, Nirmal Mondal, Pathik Sahoo, Vishnu CR, and Yogesh Hadiya — was chosen by a jury comprising Amit Kumar Jain, Varunika Saraf, Jaiveer Johal, and Lakshmi Nambiar, who also helms Srishti as founder and curator. This year's curatorial focus, Pushing Boundaries of Materiality, is compelling. The show highlights how artists are thinking beyond canvas and conventional form, and engaging with textiles, ceramics, steel, found objects, and video. From narratives in stitched installations to the reuse of discarded materials, each practice becomes a dialogue between form and idea, reminding viewers that the material can become a narrative force. For Nirmal Mondal, a graduate of Kala Bhavana, Visva-Bharati University, that narrative emerges from clay. Working in Santiniketan, he draws on the terracotta temples of Murshidabad and the dwindling craftspeople who once built them. 'My work is a way of conserving the stories I grew up with,' he says, adding, 'Ceramic holds memory better than paper.' Manu N (Manushya), who studied at the Bengaluru School of Visual Arts and Karnataka Chitrakala Parishath, blends industrial and natural materials to explore the vulnerability and endurance carried in both Nature and the human body. In his stainless steel Inflorescence, floral structures form branching clusters and patterns. The artwork reflects his interest in botanical systems and the small-scale industry he runs. Meanwhile, his organic, coral-like forms stem from a desire to create works that 'symbolise the creation of life.' He explains, 'Salt and terracotta symbolise land and ocean. That duality reflects where we come from.' Farhin Afza, who received her MVA in Graphic Arts from University of Hyderabad in 2024, anchors her multimedia work in the rituals of Muslim domestic life. Her piece Dastarkhwaan reimagines the everyday dining spread as a political site. 'My work explores ideas of home, memory and identity,' she says. 'It is personal, at the same time political.' Incorporating everyday domestic objects, video, and textiles, Afza's work speaks softly but forcefully to belonging and marginality. Aaryama Somayaji, who holds a from National Institute of Design, Andhra Pradesh, and an MA in Fine Arts from LASALLE College of the Arts, Singapore, creates dreamlike works rooted in folklore, oral traditions, and imagined memory. Her Heirloom Recipe Chart series is in acrylic wash and watercolour pencil on banana-fibre paper she made a decade ago. Her work is a 'maximalist approach to abstraction' and explores the language of recipes as cultural inheritance. 'They are sort of gestures or whispers that are told to you as recipes... add a little bit of this, a little bit of that,' she explains. A culmination of ingredients, approximations, and even gaps where history has erased memory or left space for future generations to fill in themselves. Other featured artists present equally potent material narratives. Deepanwita Das evokes botanical decay and emotional vulnerability through layered lithographs and stitching. Hasan Ali Kadiwala offers quiet, poetic etchings around displacement and spiritual longing. Moumita Basak uses recycled textiles and embroidery to reflect on gender and ecological justice. Nayanjyoti Barman builds fragile assemblages from plywood and wire to explore migration and memory in Northeast India. Pathik Sahoo works with iron, brass, and tin to reconstruct vanished rural festivals and communal rhythms. Vishnu CR transforms wood into large-scale sculptures inspired by carpentry traditions and childhood puzzles. Yogesh Hadiya layers satire and metaphor into dense woodcuts championing social critiques. (Emerging Palettes 15 is on view at Srishti Art Gallery, Jubilee Hills, Hyderabad, till July first week)
Time of India
08-06-2025
- General
- Time of India
One from the heart, fatherless kids donated piggy bank money to Kargil
Chandigarh: Two children, Srishti (8) and Akshay (5), in faraway Indore broke their piggy banks as the war raged on the Kargil heights. Missing their father terribly, who had passed away in a tragic accident in 1994, the children offered all they had in savings to the soldiers, each donation amounting to a Rs 2 currency note. Hand-made cards by the two children for the soldiers were added to the offering that sought no reward or hankered for any recognition. Their young mother and an educationist, Namrata Ramkrishnan, added a small sum from her side and wrote a hand-written letter to then COAS Gen. VP Malik on July 27, 1999, as a homage to the soldiers. That reached the battling soldiers soon enough, striking at that time an emotional connect of the citizens of India with the guardians of its volatile frontiers. It was their blood that draped the forbidding snows, there were many other children like them whose young fathers had fallen in battle. That letter surfaced after 26 years when Malik, since retired and settled in Panchkula, pulled it out from his archival treasures and posted it on his social media handle. That post reignited memories, triggered a wave of nostalgia for an era gone by, and generated tremendous goodwill for the Indian Army fresh from its latest bouts during Op Sindoor. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Giao dịch CFD với công nghệ và tốc độ tốt hơn IC Markets Đăng ký Undo Malik also posted the official reply he had written to Ramkrishnan on Aug 4, 1999, as also the one penned by then GOC, 8 Mountain Division, Maj Gen Mohinder Puri, UYSM, to the Ramkrishnans on Aug 15, 1999. Such was the overwhelming response created by the surfacing of the three Kargil letters that netizens immediately got down to the task, traced out the Ramkrishnans and secured their elated, grateful replies on Malik's post. As an enraptured netizen commented: "Wow, it's almost like some stuff from Harry Potter. A magic circle is now closed." The Ramakrishan children's innocent, thoughtful and generous gesture recalled the parable of the Buddha, who accepted the offering of half a mango from an old lady with both hands as she had given all she had and without expecting any reward, unlike the wealthy and the kings. "When the Kargil War broke out, I told stories to my children of the challenges that our soldiers faced battling at those daunting heights and weathering those icy climes. I wanted to introduce the concept of the Indian Army to them in a positive manner. My children were very moved by the Kargil stories. At that time, there were a lot of donations and greetings being sent to the soldiers. My children asked me if they could contribute their piggy bank savings to the soldiers," Ramkrishnan, who is now settled in Bengaluru as an educational consultant with her daughter, Srishti, a corporate lawyer, told the TOI. Her son, Akshay, is a mechanical engineer working with Apple Inc in the US. In that letter, Ramakrishnan, who was bravely battling her ordeal as a young widow, wrote to the COAS on July 27, 1999: "My children are deeply moved by what our soldiers have done for our country. They have lost their father in an accident when they were very little and I am trying my best to inculcate good values in them. I am sure that you will understand and appreciate that they don't know the value of money as yet and hence the small amount is enclosed from their own piggy banks. " In response, Malik wrote back to Ramakrishnan on Aug 4, 1999, stating: "I am deeply touched by the sentiments ... Also moving is the gesture by your children of sending their piggy bank money ... I can only wish that every young mother in the country would bring up her children in the manner in which you are doing." A few days later, the young kids were thrilled that Puri replied to them from the smouldering battlefield, stating: "The contents of your letter and good wishes expressed by your children have been disseminated to our brave jawans who have successfully thwarted the attempts of intrusion by the Pak army in our territory. We are all overwhelmed by the sentiments expressed by you and your children." The posting of the Ramakrishan letter on social media by Malik evoked fond memories of that era when people would take pains and burn the midnight oil to draft hand-written missives, and preserve them, too, like Malik had. A postman's son and netizen, wrote on Malik's post: "As the son of a postman, I can understand what feeling used to be poured in letters during Kargil War." Truly, these heartfelt letters to the battlefield carried the soul of the nation. Recalling those eventful weeks of war, Puri, who retired as a Lt Gen and Deputy COAS at Army HQs, told the TOI: "I distinctly remember that letter and piggy bank money. People were sending us droves of letters, and thousands of 'raakhis' for our soldiers with silver threads. I remember that when our soldiers read those missives of love and goodwill, they were happy, proud and motivated, and it energised their morale. They felt that the entire nation was emotionally connected with the war effort and had stood by them. Kargil was a very evocative battle, fought in those beautiful snow-bound ridges and carrying novel battle site names like Tololing, Tiger Hill, Pari ka Talaab, Sando nallah, Batalik, Shangruti, Chorbatla, etc. All over Drass, bloomed those magical yellow roses. Media coverage had brought the battle to the living rooms creating that unforgettable connect, as were the solemn public funerals of fallen soldiers and officers. Unlike the recent four-day war, which was waged as a non-contact battle and citizens did not get a glimpse." Delving on her thoughts and feelings that drove that gesture nearly 26 years ago, Srishti wrote: "My brother and I, too young to truly grasp the value of what we were giving, emptied out our piggy bank - coins we'd been saving for months - wanting to help the soldiers we'd heard so much about. We added hand-drawn cards, our childish way of saying thank you to the brave souls defending the country. There's something incredibly moving about that - knowing that a small act from two children, guided by their mother's quiet patriotism, stayed with someone who led an army through a war. Some letters stay alive, even decades later."
