Word: nair
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Dates: during 2000-2009
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...compromising to expand his audience. In fact, it's best not to offer any criticism at all, especially if it's about the wind. The auteur can be awfully sensitive about the wind. After finishing Shadow Kill, Adoor and I - along with his longtime colleague and friend P.K. Nair, former director of India's National Film Archive - adjourn to Adoor's house for lunch. Over dessert in the director's spacious office Nair gently points out that one of the core images in Shadow Kill - wind rustling through fields of lush grass - may be a cinematic cliché. Adoor does...
...think that scene is stereotypical, then you are very stupid, very corrupted," Adoor says to Nair. "That is very unfair!" Adoor vibrates with indignity. Nair, unruffled, makes a few attempts at qualification, but the director is unsoothed. Finally, Nair gets a chance to make a point, arguing that Adoor's audience, steeped in mainstream movies even if he is not, would not differentiate between his artistically windblown grass and any other. "The audience can't go back to 1941," he argues...
...Nair...
...Kuumba returned to their seats, Shankar A. Nair ’05 and Julia B. Appel ’04 read more “Dreams of the People” to the audience...
...Still, the dominant mood in 11'09"01 is finger-pointing. The contribution by India's Mira Nair documents the agony of a Muslim boy in Brooklyn accused of conspiring with terrorists when he had actually gone to ground zero in a rescue effort. Several of the pieces?set in Chile (Ken Loach), Israel (Amos Gitai), Bosnia (Danis Tanovic)?make a single hectoring, helpful point: our countries have suffered atrocities for years, decades, centuries; welcome to the club, America. Egypt's Youssef Chahine argues that Islamic militants have the right to kill civilians in the U.S. and Israel because these...