The most beautiful aspect of cinema is depicting the human condition on film and eliciting empathy for the worst of people and the most flawed individuals. It’s a safe purification, similar to dreaming with your eyes open. That belief is unique to cinema, combining all forms of creativity to elicit empathy and reflect the human condition. This is the fascinating feature of it right now.
Chaitanya Tamhane’s narration is the creative lens to see, know, and experience the world more naturally. He began his career as an investigative journalist. Still, he also had a child’s curiosity, eager to learn more about the myths, mysteries, and romantic ideals that surrounded the world.
In “Court,” Chaitanya Tamhane’s first feature film, Narayan Kamble, a social activist in his mid-sixties in the movie, walks the streets of Mumbai with his group of activist supporters and guides them through the city’s working-class spine. Through one of his songs, Kamble is accused of inciting a sewage worker to commit suicide. What follows is a peculiar trial in which the story follows the lives of each participant, including the public prosecutor, the judiciary’s natural pivot, and the defence counsel.
Court has received numerous awards in the past year; the most recent was the National Film Award. It debuted in September 2014 at the Venice International Film Festival. It received the best film in the Orizzonti (Horizons) category and the Luigi De Laurentiis (Lion of the Future) award for best debut. In addition, “The Court” won the Critics’ Choice Award. Furthermore, it is the first Indian film in over two decades to be chosen for one of the three major European film festivals’ main competitions (Venice, Cannes, or Berlin).
His second film, The Disciple, is based in the realm of Indian classical music in Mumbai.
“The Disciple,” written and directed by Chaitanya Tamhane, reminds us of this by narrating the narrative of Sharad, who has spent his whole life ignoring such a painful fact. His joy has been subdued by his goal of becoming a master vocalist in Indian classical music. It makes no difference how much he studies his idols or practices late at night, forcing himself to make error after mistake. There’s more to music than skill and the passage of time. In its robust manner, “The Disciple” is about a passionate practitioner who would sacrifice anything for this ideal but lacks “it.”
It will participate in the main Venezia 77 international competition area this September. “The Disciple,” another movie by Tamhane, is one of the 50 films selected for the Official Selection of the 2020 Toronto International Film Festival.
Tamhane was mentored by Alfonso Cuarón, a prominent Mexican director and four-time Academy Award winner while filming for “Court” and “The Disciple” as a part of the Rolex Mentor and Protégé Arts Initiative. Cuarón has dubbed Tamhane “one of contemporary cinema’s most essential new voices” because of his “sense of cinema and courageous confidence to convey tales.”
On the other hand, filmmaking has more aches and pains. This is because so many lose track of their ego, time, and self in the service of making something from nothing. But Tamhane did such an adequate job. The exciting thing about Tamhane is that he is such an artist who is constantly inspired by their periods, both deliberately and subconsciously.
