#pan nalin

[haveyouseenthismovie-poll]

Have you seen Last Film Show (2021)?

Yes

No

Haven’t even heard of this movie

Voting ended onMar 28, 2025

[ars-historia-est]

- “Strange,you have no center of the universe...

- Center of the universe?

- A navel...”

Valley of Flowers (2006) by Pan Nalin.

Based on the book “A Tibetan Tale of Love and Magic” by Alexandra David-Néel.

[gael-garcia]

Angry Indian Goddesses (2015), dir. Pan Nalin 

 A photographer invites her closest friends to vacation at her family's home in Goa in celebration of her upcoming marriage. [watch on Netflix]

[suchananewsblog]

Pan Nalin shares BTS footage of Shah Rukh Khan from the making of 'Karan Arjun' as ‘Pathaan’ inches towards Rs 1000 crores - Exclusive! - Times of India

In the year 1996, 100 young filmmakers from 100 countries were invited to celebrate 100 years of the invention of cinema and pay tribute to Auguste Lumière and Louis Jean Lumière, popularly known as The Lumiere brothers. Each filmmaker was asked to choose his favorite star from his own country and make a documentary. Though ‘Chello Show’ director Pan Nalin was yet to make his first feature film…

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[graceentertainment]

Pan Nalin’s Last Film Show, produced by Siddharth Roy Kapur, Pan Nalin, Dheer Momaya and Mark Duale, is India’s official entry for the 2023 Oscars.

Pan Nalin’s Last Film Show, produced by Siddharth Roy Kapur, Pan Nalin, Dheer Momaya and Mark Duale, is India’s official entry for the 2023 Oscars.

https://gracesofa.blogspot.com/2022/09/pan-nalins-last-film-show-produced-by.html

[natehoodreviews]

400 Words on THE LAST FILM SHOW ★★★★

Reviews of films from off the beaten path, written for those who love the cinematic world and want to hear about more than mainstream movie releases.

[Originally publishing on UnseenFilms]

In the opening scenes of Satyajit Ray’s Pather Panchali (1955), a distant train appears as a vision of civilization for a young boy in rural India. A similar scene opens Pan Nalin’s The Last Film Show—a young boy named Samay plays around the train tracks near his village where his family makes a living selling chai and snacks to passengers at the local station. Just as the train hinted at a new life for Ray’s hero, so too does the train for Samay. But whereas the first pointed to a Western education, the one in Samay’s life took him somewhere very different: the movies. It’s doubtful the parallels in these opening scenes were accidental, as The Last Film Show was based on Nalin’s own life, particularly his own experiences of falling in love with movies and deciding at a young age to make them. Though its English title is winkingly similar to a certain Peter Bogdanovich classic, the film is more closely modeled on Giuseppe Tornatore’s Cinema Paradiso (1988). Both draw on autobiographical details to tell stories of young boys who become enraptured with movies, adopt a theater as a home-away-from-home, start friendships with kindly movie projectionists, and eventually escape from their small towns to become directors. But the two films are very consciously different in tone and execution. Whereas Tornatore’s film is a heavily melancholic meditation on memory, Nalin’s is a joyous expressionistic ode to artistic self-discovery. Through films, Samay literally discovers new ways to see the world. After stealing reels of film from Samay’s beloved theater with his friends, his gang bikes around town with colored strips of celluloid wrapped around their eyes, plunging everything into the same vibrant colors they see on movie screens. While trying to power a jerry-rigged film projector, the boys seemingly rediscover the sun itself and try to grab its light with their bare hands to run it with. The film unabashedly fetishizes physical celluloid and treats the arrival of digital projection as an even greater tragedy than the death of the protagonist’s sister in Pather Panchali. But one feels that this isn’t born of Nalin’s nostalgia for physical film. Instead, for him and Samay, despite being ephemeral flashes of light, images have a presence and impact that demands tactility. Moving pictures aren’t disposable distractions, they’re dreams and fantasies given life. They’re what makes one worth living.

[watchingalotofmovies]

Angry Indian Goddesses

Angry Indian Goddesses    [trailer]

A photographer invites her closest friends to vacation at her family's home in Goa in celebration of her upcoming marriage.

Touches upon a lot of subjects. While I have no detailed knowledge, I'm still fairly sure, that sexual harassment and same-sex marriage rarely are topics of Indian movies. And that few of them focus entirely on the social situation of women.

There's not much plot in the traditional sense. And there are a number of musical montages that show the camaraderie of the women. For the most part the film doesn't probe too deep. Though that strongly changes in the last half hour, when the movie suddenly takes a much more serious turn. Which was a bit unexpected.

[yathish1618]

Samsara (2001) [IMDb]

How can one prevent a drop of water from ever drying up? See below for answer.

By throwing it into the sea...

This is the answer offered by the movie and is in fact the main message of the movie. I disagree with it. But it’s a wonderful spiritual movie nonetheless.