Doab Uncut Motion

12/01/2019

Are you passionate about cinema? Doab Uncut Motion is looking for passionate cinephiles to get involved with us. You need to be hardworking, attentive and fast learner because like indie filmmaking, our indie film festival is also depends on jugaad skills.
We are looking for a photographer, a projectionist, an award show host, a registration desk runner, VIrtual Reality show runner.

What skill you need?
If you best at your click you fits as the photographer.
If you are a natural speaker you fits as a award show host.
Else for everyone you just need a basic cumputer skill.
But most importantly you need to love cinema. Because in those 5 days you can get in touch with international filmmakers from Myanmar, Malaysia, Italy, China, South Korea and France. This you can't afford to miss. These We will talk, discuss, debate about films and future of filmmaking over Lunch, Dinner and Barbeque Buffet.

So sign up to get the insider view of the arthouse film world.
Send Message to this page if you have any questions.

08/01/2019

Asia Filmmakers Confluence 2019 is arround the corner. Just a few days left. Here is the schedule for the firat two days.
During these two days we will experience the experimental new media works originated around the world.
We are the very first film festival to have a dedicated VR Lounge year after year.

26/12/2018

Merry Christmas !!!

Unveiling Doab Uncut Motion's most ambitious fund program . The funda is simple behind this we like your script you got funded.
Equipment rental fund is not a cash fund, if you got funded what you will get is a camera kit, includes 4K Full-Frame Camera, Cinema Prime Lenses, Tripod, Light, Multi-Channel Sound Recorder and so on.

We are proud to keep this promise made by us during Arthouse Asia 2017. Thank you very much.
Other details and the link to apply will be launched during Arthouse Asia filmmakers confluence 2019

02/10/2018

08/09/2018

Flitting between a mythical past and a down-to-earth present, the story is full of scary monsters – from fantastical demons to all-too-real landmines and brutal beatings. Yet The Breadwinner looks through the eyes of a resilient young girl whose courage is our guide. Along with the eerie beauty of the animation there is a salving streak of humour that softens this tale’s sharper edges, reminding us that – for children – laughter and bravery walk hand in hand.

We first meet 11-year-old Parvana (affectingly voiced by Saara Chaudry) on the streets of Kabul, where she is helping her father, Nurullah (Ali Badshah), to sell their meagre goods. A teacher by trade, he lost a leg in the Russian war, but is now considered a subversive for encouraging his daughters to be independent – to learn the history of their land and to understand the liberating power of its stories. “Stories remain in our hearts, even when all else is gone,” Nurullah tells Parvana, although she’s starting to wonder: “What’s the use?”

Read Full Article: https://www.theguardian.com/film/2018/may/27/the-breadwinner-review-nora-twomey-deborah-ellis-kabul

Trailer: https://www.youtube.com/watch?v=yQBQw-Bh1pg

Follow Parvana, a young girl who gives up everything to provide for her family and reunite with her father

07/09/2018

I remember their elderly aunt, Indir Thakrun, who drops dead midway through the film but whose presence echoes in another end, her young niece’s death.
When the film opened in New York in 1958, Bosley Crowther, the critic of the New York Herald Tribune, raved about Chunibala Devi, “fantastically realistic and effective as the ageing crone”. He wasn’t the only one moved by the octogenarian’s creased face, creaking joints, croaking lullaby and zest for life. Ray was often asked where he had discovered the actress. In Marie Seton’s Portrait of a Director: Satyajit Ray we learn that he found the retired stage actress in a house in Kolkata’s red-light district, after she was recommended to him by Reba Devi, who played the rich neighbour Mrs Mukherjee.
As soon as the wizened Chunibala Devi opened the door to the filmmaker and his production manager Anil Choudhury, Ray knew that he’d found his Indir Thakrun. She introduced him to a younger woman who referred to her as mother and who she described as a “professional actress”. She then offered to show him the other young girls living in the house at which Ray told the old lady he’d come to offer her a role.
Surprised and delighted, Chunibala Devi brought out old handbills of the plays she had acted in, bit parts that had got her little notice. She had made her film debut with Bigraha in 1930 and after one more film, Rikta, nine years later, had retired from cinema. Pather Panchali brought her back in front of the camera and she finally won over the world.
Chunibala Devi was 80 when she signed the film. She was paid a little over Rs 20 for every working day. She allowed her hair to be sheared mercilessly and be draped in a piece of cloth which art director Bansi Chandragupta, had torn and handed over to her only when it looked soiled and ragged.

Read Full Article: https://mumbaimirror.indiatimes.com/entertainment/bollywood/in-focus-ray-and-the-tale-of-an-old-actress/articleshow/43833594.cms

03/09/2018

Happy Janmashtami!

01/09/2018

An initiative by us to support the independent short filmmakers!
To know more visit doab.in

29/08/2018

5 Indian Films that are not known to Indians.

28/08/2018

Let's check your movie knowledge! 😉