NEW DELHI: Terrified for her safety, Indian actress Sreelekha Mitra remembers pushing chairs and a sofa against her hotel door after she said an award-winning veteran director sexually harassed her.
Mitra waited 15 years to speak out about the incident, one of several cases exposing the dark underbelly of India’s Malayalam-language “Mollywood” film industry that has won awards at Cannes.
Her revelation was spurred by an explosive government report documenting widespread sexual harassment in an industry dominated by powerful and wealthy men who believe that an actress willing to kiss on screen would do the same in real life.
“That entire night I stayed awake,” Mitra, 51, told AFP.
Mitra was invited to a gathering at the director’s house, where she said he lured her into his room for a phone call with a cinematographer.
“He started playing with my hair and neck... I knew if I did not say anything then, his hand would roam around other parts of my body,” she said, describing events from 2009, when she was 36.
She left and returned to her hotel.
“The intentions behind his moves were pretty clear to me... I was petrified.”
Her case and close to a dozen others have triggered a MeToo reckoning in the industry, with at least 10 prominent figures accused, according to Indian media.
Kerala-based Mollywood is known for critically acclaimed movies with strong and progressive themes, a change from the big dance and song numbers of India’s giant Hindi-language Bollywood in Mumbai.
The industry is prolific, producing up to 200 films a year, loved not only by southern India’s 37 million Malayalam speakers, but also dubbed and streamed across the rest of India and abroad.
Internationally, its films have won awards, including the 1999 satire Marana Simhasanam (“Throne of Death“), winner of the Camera d’Or at Cannes.
This year’s “Manjummel Boys,” a survival thriller, took $29 million at the box office, the highest-grossing Malayalam movie ever and the fifth-most successful in India this year.
The industry report, released August 19, said women actors faced the widespread “worst evil” of sexual harassment.
The report was released by the Hema Committee, headed by a former high court judge, set up after a leading Malayalam actress reported she was sexually assaulted in 2017.
Gopalakrishnan Padmanabhan, a prominent Malayalam actor better known by his stage name Dileep, was arrested for allegedly orchestrating the assault.
He was imprisoned for three months before being released on bail. The case continues.
But the release of the report has opened discussion on the far wider issue of chronic violence against women, encouraging people like Mitra to speak out in public for the first time.
It said that women who considered speaking out about sexual assault were silenced by threats to their life, and to their families.
Award-winning actress Parvathy Thiruvothu, 36, called the investigation a “game changer” and a “historic moment.”
“There was this idea that women working in the industry should feel grateful for having been given an opportunity by the men who were hiring them,” said Thiruvothu, a member of the campaign group Women in Cinema Collective.
Allegations of abuse in Indian cinema are not new.
It witnessed a wave in 2018, shortly after the 2017 MeToo movement erupted in Hollywood against disgraced US movie producer Harvey Weinstein.
But Thiruvothu called the latest allegations more than “MeToo Part Two.”
“It’s shaking everything,” she told AFP. “It isn’t an individual-to-individual complaint anymore. It’s about a systemic structure that has continued to fail women.”
Since the report, several top actors have been accused.
The Association of Malayalam Movie Artists was dissolved following the resignation of its chief on “moral grounds” with some members among the accused.
Ranjith Balakrishnan, 59, chairman of the state’s film academy, has also quit.
Balakrishnan, who denies any wrongdoing, was the man Mitra accused of sexual harassment.
Police have filed a case against him for outraging a woman’s modesty, a non-bailable offense.
Mitra, who until the release of the report had only mentioned the incident to an industry colleague, told AFP that Balakrishnan had misused “his power.”
Thiruvothu offered a message to all women in the film industry who have survived sexual assault.
“You are a skilled artist... do not listen to anyone who tells you to find another job if it is so difficult for you,” she said.
“This is your industry, as much as it is anybody else’s. Speak up, so that we are taking the space that is rightfully ours.”
India’s ‘Mollywood’ cinema rocked by MeToo abuse claims
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India’s ‘Mollywood’ cinema rocked by MeToo abuse claims
- Explosive government report has documented widespread sexual harassment in an industry dominated by powerful and wealthy men
- Case of Sreelekha Mitra and close to a dozen others have triggered a MeToo reckoning in the industry, with 10 prominent figures accused
Gaza finds mention at politically charged Coachella’s first Saturday
DUBAI: US politician Bernie Sanders found a moment to mention Gaza as he took to the stage at Coachella music festival on Saturday night in California to introduce US singer-songwriter Clairo.
“Now I’m here to introduce Clairo, not just because they are a great band, not just because Clairo at the age of 13 posted videos on the internet as a singer-songwriter,” said Sanders. “I’m here because Clairo has used her prominence to fight for women’s rights, to try to end the terrible brutal war in Gaza where thousands of women and children are being killed. So, I want to thank Clairo not only for being in a great band, but for the great work she’s doing.”
Another political moment arrived on Saturday night, when US rock band Green Day tweaked the lyrics of their track “Jesus of Suburbia” to reflect the ongoing Israeli attacks against Gaza.
While performing the song, lead singer Billie Joe Armstrong sang, “Runnin’ away from pain, like the kids from Palestine / Tales from another broken home.”
The original song lyrics from 2004’s “American Idiot” were, “Runnin’ away from pain when you’ve been victimized.”
Herd of animal puppets treks from Africa to arctic Circle in climate action
- A wildebeest, a gorilla and a giraffe were among the life-size puppets to begin the 20,000-kilometer trek that will cross about 10 countries between central Africa and the Arctic by August
KINSHASA, Congo: In the Kinshasa Botanical Garden, a troupe of cardboard animals stand at attention in a clearing. Their handlers, puppeteers dressed in black, begin to move slowly through the woods, eventually picking up speed and breaking out into a run.
These were the first steps of “The Herds,” a moving theater performance made up of cardboard puppet animals that flee from the Democratic Republic of Congo to the Arctic Circle in a bid to bring attention to the climate crisis.
This week, the puppet animals started their journey in Kinshasa, the capital of the DRC in central Africa. The story goes that the animals will be forced out of their natural habitats due to global warming and displaced north, stopping in cities along the way and being joined by more animals.
Just meters away a real-life example of climate change: Part of the botanical garden lay under floodwaters left over from massive flooding earlier this week that left half the city inaccessible and killed dozens. The sight brought “The Herds” story to life in a bleak way. The main event planned in the center of Kinshasa on Friday was canceled because of the heavy rain.
A wildebeest, a gorilla and a giraffe were among the life-size puppets to begin the 20,000-kilometer (12,400-mile) trek that will cross about 10 countries between central Africa and the Arctic by August.
Their journey will take them through Nigeria, Senegal, Morocco, France and Norway, among other countries.
“This project tries to give the public a powerful emotional sense of what’s happening to the planet,” project producer David Lan said.
The trek includes “now 20, later 40, later 70 animals from all over west Africa, Morocco, Europe who are traveling to escape from the damage done to their ecosystem,” he added.
It is financed by several European countries as well as private foundations.
The puppets are made of mostly recycled materials: cardboard for the skin and rubber for the joints, according to Siphokazi Mpofu, of the South African collective, Ukwanda Puppets, which created the first puppets.
“Some animals will die on the way,” due to high humidity for instance, “just like in real life,” Mpofu said.
As it travels, the herd will be joined by new puppets representing local species, such as vervet monkeys in Nigeria, wolves and red deer in Europe, and reindeer in Norway.
“The Herds” comes from the team that was behind “The Walk” in 2021, in which a 12-foot tall puppet of a refugee girl called Little Amal drew attention to the refugee crisis by traveling to 15 countries — from Turkiye to the UK, Ukraine, Mexico and the US.
Tshoper Kabambi, a Congolese filmmaker and producer, is working on “The Herds” as its DRC producer. He said “The Herds” main goal is to raise awareness.
“Nature is very important to us. But humans have a tendency to neglect nature,” he said. “We want to raise awareness among people about everything that is happening. You have seen the floods all over the world, global warming, deforestation.”
“The Herds” will stay in Kinshasa until Saturday before moving onto Lagos, Nigeria, and Dakar, Senegal.
“The Herds” organizers say the significance of starting in Congo lies in the fact that the country is home to the second biggest rainforest in the world. The Congo Basin serves as one of the planet’s “lungs,” the other being the Amazon Rainforest.
They say much less attention has been focused on Congo’s rainforest, but it is still in dire need of protection.
Congolese artists were an integral part of “The Herds” opening act, just as artists from other countries will be as the project moves north.
Amir Nizar Zuabi was on that team and is now the artistic director of “The Herds.” He was also a part of “The Walk.”
“I think one of the big impacts of this project is the fact that this project is happening in 20 different cities,” he said. “It will travel through different cultures, different places, and it accumulates. And it will tell the story of the Congo also in Norway, because we have partners everywhere.”
May Calamawy, May Elghety join cast of Lee Cronin’s ‘The Mummy’
DUBAI: Egyptian actresses May Calamawy and May Elghety have joined the cast of “The Mummy,” a new feature from award-winning Irish writer and director Lee Cronin.
Calamawy, who is also Palestinian, and Elghety star alongside Mexican actress Veronica Falcon, as well as previously announced cast members Jack Reynor and Laia Costa.
Plot details for the film remain undisclosed.
The film is produced by Blumhouse, Atomic Monster, and New Line Cinema, and is currently in production in Ireland and Spain.
Calamawy is best known for her role as Layla El-Faouly in Marvel’s “Moon Knight” and as Dena Hassan in the critically acclaimed series “Ramy.”
Elghety gained attention for her breakthrough role in the award-winning Egyptian film “Clash” (2016), which opened the Un Certain Regard section at Cannes.
Devastatingly good: ‘The Last of Us’ season two is a bleak triumph
JEDDAH: The key to the success of season one of HBO’s acclaimed post-apocalyptic video-game-franchise adaptation “The Last of Us” was the relationship between world-weary smuggler Joel (Pedro Pascal) and his ‘cargo,’ 14-year-old orphan Ellie (Bella Ramsey), who’s immune to the parasitic fungal infection that wiped out the majority of mankind over the previous two decades.
In season two, which launches April 13 on OSN+, that relationship has become strained. In part because the now-19-year-old Ellie is raging against her father (-figure), as 19-year-olds will. But also due to the decisions Joel made in the season one finale (spoiler alert) — keeping Ellie alive by slaughtering dozens of people and possibly denying the world a cure.
So fans hoping for a repeat of the crackling chemistry between Pascal and Ramsey that made up the majority of season one’s screen time will be disappointed there’s not more of it here: Ellie has made friends from her own age bracket in the relatively peaceful township of Jackson over the five years that have passed since season one and is now living in Joel’s garage, rather than the main house. It’s a big loss, not having Joel and Ellie at the heart of the show, and none of the other relationships fully compensate.
However, once again showrunners Craig Mazin and Neil Druckmann (the latter of whom is also head of the games’ developer, Naughty Dog) have managed to navigate the line between satisfying fans of the games and viewers who know nothing of the story.
The season begins slowly, establishing the new dynamics between Joel and Ellie, and introducing us to some of Jackson’s other inhabitants while showing that a functioning, peaceful community can still exist in an otherwise ruined world. Don’t get too cozy, though. We’re also introduced to Abby and her friends, who we quickly learn are survivors of Joel’s finale rampage out for vengeance. And they’re closing in on Jackson.
The mellow vibe disappears fast. There’s an all-out battle against a horde of infected that compares favorably with the very best of “Game of Thrones,” and displays of narrative audacity that only very skilled writers and performers can successfully pull off and still retain their audience — or, at least, the majority (some will definitely decide not to stick with it).
Like the game on which it’s based, season two is a different, darker, bleaker affair than the first, tackling topics that are rarely addressed in this genre: cycles of violence; the difference between justice and vengeance (or justice and selfishness); the destructive and constructive powers of love; the crushing devastation of grief; and much more. And, like the game, it’s a great piece of storytelling that rewards your attention.
Beijing bites back at US tariffs by curbing Hollywood film imports
- Hollywood’s share in China’s box office drops to 5 percent
- Domestic films dominate China’s box office, accounting for 80 percent of revenue
BEIJING: China said on Thursday it would immediately restrict imports of Hollywood films in retaliation for President Donald Trump’s escalation of US tariffs on imported Chinese goods, targeting one of the most high-profile American exports.
Industry analysts said the financial impact was likely to be minimal, however, because Hollywood’s box office returns in China have declined significantly in recent years.
After three decades during which China imported 10 Hollywood movies per year, Beijing’s National Film Administration said Trump’s tariff actions would further sour domestic demand for US cinema in China.
“We will follow market rules, respect the audience’s choices, and moderately reduce the number of American films imported,” the NFA said on its website.
Hollywood studios once looked to China, the world’s second-largest film market, to help boost box office performance of movies. But domestic movies increasingly have outperformed Hollywood’s fare in China, with “Ne Zha 2” this year eclipsing Pixar’s “Inside Out 2” to become the highest-grossing animated film of all time.
Chris Fenton, author of “Feeding the Dragon: Inside the Trillion Dollar Dilemma Facing Hollywood, the NBA, and American Business,” said limiting US-made films was a “super high-profile way to make a statement of retaliation with almost zero downside for China.”
Hollywood films account for only 5 percent of overall box office receipts in China’s market. And Hollywood studios receive only 25 percent of ticket sales in China, compared with double that in other markets, Fenton said.
“Such a high-profile punishment of Hollywood is an all-win motion of strength by Beijing that will surely be noticed by Washington,” Fenton added.
Trump did not jump to Hollywood’s defense. “I think I’ve heard of worse things,” the president said when asked about China’s restrictions.
Many Hollywood celebrities supported Trump’s Democratic opponent in last year’s election.
One entertainment industry source predicted that big Hollywood blockbusters, which continue to attract moviegoers in China, may still reach the big screen. Walt Disney’s Marvel superhero movie “Thunderbolts,” which kicks off the summer blockbuster season, recently received permission to debut in China on April 30.
It was not clear if China would approve the entry of other major releases this summer, such as Paramount’s “Mission Impossible — The Final Reckoning,” which may mark Tom Cruise’s last appearance in the long-running franchise, Warner Bros’ new “Superman” movie from “Guardians of the Galaxy” filmmaker James Gunn, and Marvel’s new take on “The Fantastic Four.
Limited impact
IMAX said it expects the slate for its large-format screens, which includes Hollywood, Chinese and international films, would not be materially impacted by the restrictions.
“We continue to expect a strong year for IMAX in China, coming off our highest-grossing first quarter ever in the country,” an IMAX spokesperson said in a statement to Reuters.
Seth Shafer, principal analyst at S&P Global Market Intelligence Kagan, predicted the restrictions would have limited impact.
“Only roughly 25 percent of domestic wide-release films are now released in China and that percentage has dropped steadily over time due to increasing competition from China’s local film production industry,” Shafer said. “For domestic films that do get a release in China, typically less than 10 percent of the film’s global gross box office revenue comes from China.”
“Captain America: Brave New World,” a Marvel film released in February, took in $14.4 million in China out of its $413 million in global receipts.
In the past, imports including “Titanic” and “Avatar” became box office smashes in the Chinese market, making actors such as Leonardo DiCaprio and directors such as James Cameron household names among Chinese film lovers across generations.
Since 2020, Chinese-made films have consistently accounted for around 80 percent of annual box office revenue, up from around 60 percent previously.
On China’s all-time box office list, only one imported film ranks in the top 20 — “Avengers: Endgame,” with revenue of 4.25 billion yuan ($579.83 million). The remaining films in the top 20 are all domestic productions.
