Thrissur's Kairali-Sree theatres to offer word-class experience to moviegoers
The modernised Kairali-Sree theatre complex in Thrissur will be reopened on May 27.
Minister for Cultural Affairs, Fisheries, and Youth Affairs Saji Cherian will inaugurate the renovated theatres.
The theatre complex, functioning under the Kerala State Film Development Corporation (KSFDC), has been upgraded with cutting-edge features such as RGB laser projectors, Dolby Atmos 64-channel surround sound, 3D and silver screens, state-of-the-art seating, including couple seats, lift access, advanced fire safety systems, and a dedicated feeding room, to offer world-class cinema experience to moviegoers.
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Time of India
5 days ago
- Time of India
Now trending in Kerala: Post-production at home, personal spaces
Kochi: When Ajayan Adat won the state award for best sound design for the critically acclaimed movie 'Ilaveezha Poonchira', many wondered in which studio the intricate sound layers were crafted. Tired of too many ads? go ad free now In reality, its basic design — ambient textures, subtle sonic details and tonal mood shifts — was created in a compact, acoustically treated room inside his modest home. Armed with a high-performance laptop, reference monitors and years of hands-on experience, Ajayan represents a quiet revolution reshaping Mollywood's post-production sector. Increasingly, professionals like him — sound designers, editors, colourists, CG technicians and musicians — are moving from traditional studios to their own spaces, be it apartments, garages or personal dens. The decentralisation of post-production, driven by technology, lower infrastructure costs and digital workflow's flexibility, is transforming the making of Malayalam cinema. "Video editing jobs were decentralised years ago. Now that trend has spread to other post-production areas as well," said Adat. "Personal spaces allow them to enjoy the process and give each project a personal touch. High-end studios are still essential, but mostly for final stages. For instance, in sound design, we can handle initial editing and basic mixing from our own setups. For final mixing, like Dolby Atmos or OTT mastering, we rely on advanced professional studios," said Adat. Music director and sound designer Dawn Vincent, who won the state award for best music in 2023 for 'Nna Thaan Case Kodu', has transformed a bedroom in his Panangad, Kochi, home into a fully functional studio. "Most of my compositions and programming — including the music which won me the award — were done in this room. The work of my latest project 'Oru Durooha Sahacharyathil', starring Kunchako Boban, is progressing here," says Vincent. "Working from my own space allows me to create without time constraints. It helps reduce production costs. Even the previews of my work are done here at home." Movie editor Ajith P Unnikrishnan is now working for a leading banner in Malayalam and has been busy with its editing at his home on the city border. "It's more comfortable. Many now opt for 'work from home' for that reason," he said.
India Gazette
5 days ago
- India Gazette
Sivaranjini J directorial 'Victoria' becomes India's solo entry at 27th Shanghai International Film Festival, filmmaker shares her journey
Washington DC [US], June 16 (ANI): Director Sivaranjini J is thrilled as her debut feature film Victoria has been selected as the sole entry from India at the 27th Shanghai International Film Festival (SIFF) 2025. The film will be screened under the Asian New Talent section of the festival. Sivaranjini opened up about her journey from a small village in Kerala to gaining international recognition, revealing that she had once given up on her 'dream' of becoming a filmmaker due to the immense struggles faced by independent directors today, reported Variety. In an interview with Variety, the 'Victoria' director said that she feels 'honoured' for the recognition received by her film at the Shanghai International Film Festival 2025. 'I am feeling really honoured by the recognition. On a personal level, it feels like a significant milestone, considering how unattainable making a feature film once seemed to me. It's an acknowledgement of the collective effort of my team and the risks we took with this film,' said Sivaranjini as quoted by Variety. As per the outlet, Sivaranjini developed the project under the Kerala State Film Development Corporation's (KSFDC) Women's Empowerment scheme, which proved instrumental in bringing her vision to life. She calls it a huge 'turning point' in her filmmaking journey. 'By then, I had almost given up on my dream of becoming a filmmaker, aware of the immense struggles independent filmmakers often face. The state government grant was a huge turning point for me. The grant enabled me to pursue my dream without the usual commercial expectations of the producers. We also had access to the facilities of Chitranjali Studio owned by the state government,' said Sivaranjini as quoted by Variety. The film had its premiere at the 29th International Film Festival of Kerala (IFFK) in 2024. As per Variety, the movie centres on Victoria, a young beautician who is caught between family expectations and personal desires when she plans to elope with her Hindu boyfriend against her conservative Catholic parents' wishes. Set almost entirely within a beauty parlour, the story complicates when Victoria must care for a neighbour's sacrificial rooster intended for a church offering. Sivaranjini J. also shared the inspiration behind her movie, saying that the idea of 'Victoria' struck her five years ago when she visited a neighbourhood beauty parlour in her home village on the outskirts of Kochi, Kerala. 'I encountered a rooster with its legs tied, near their toilet. I enquired and learned it was a sacrificial rooster soon to be taken to the nearby St. George church as an offering. A rooster inside an all-ladies beauty parlour was the image that inspired me to write the script,' said Sivaranjini. Shanghai International Film Festival (SIFF) announced the selection of Victoria through their Instagram handle. The cast of the film includes Meenakshi Jayan, Sreeshma Chandran, Jolly Chirayath, Steeja Mary, Darsana Vikas, Jeena Rajeev, and Remadevi. The technical team features Anand Ravi as director of photography, Abdul Khader A.K. handling art and production design, with Sivaranjini serving as editor, and Abhaydev Praful composing the music, reported Variety. (ANI)
The Hindu
13-06-2025
- The Hindu
Director Sivaranjini J on ‘Victoria' entering the 2025 Shanghai International Film Festival and more
'There was a phase when I accepted that our movie, Victoria, might not be an entry at any international festival, get a limited release in Kerala, and that would be it for the movie,' says filmmaker Sivaranjini J. However, the director is now thrilled that her debut movie has emerged as the sole entry from India to the Shanghai International Film Festival 2025, on from today till June 22. The film will be screened in the Asian New Talent category. The film is about Victoria (Meenakshi Jayan), a young beautician from Angamaly in Ernakulam district of Kerala, who is forcibly entrusted a sacrificial rooster as she heads for work. She, however, has other plans. She was plotting to elope with her Hindu boyfriend after her Catholic parents come to know about their relationship. Victoria oscillates between maintaining her composure at work and breaking down owing to her relationship troubles. The rooster's antics at the beauty parlour filled with women adds to the chaos. The makings of Victoria 'I had this idea when I went to a beauty parlour in my town. There was a rooster at the parlour, intended as an offering by one of the employees to St George Forane Church at Edappally [in Kochi] for the annual church festival. I got a spark for the script here. The image of a rooster in a parlour with only women was interesting,' says Sivaranjini, who is from Manjapra, a few kilometres away from Angamaly. 'A lot of people from our part of the town attend this ritual. People offer a rooster to Saint George, especially when they see snakes in their vicinity seeing it a reminder from the saint,' explains Sivaranjini, pointing to a leitmotif in the movie. However, Sivaranjini only got around to Victoria's script later; when it was approved by the Kerala State Film Development Corporation (KSFDC) for the Woman Empowerment Grant. 'While it took a year to finish the approval process, I completed the script in two weeks,' says Sivaranjini. The team received funding from KSFDC in 2023 and had its premiere at the 29th International Film Festival of Kerala in 2024, where it won the FIPRESCI award for the best Malayalam film by a debut director. The film boasts an almost all-female cast, delving into issues including but not limited to gender. 'I wanted new faces who could speak in the Angamaly dialect. I like working with new actors as they would not have been typecast and it is fun to work with them. We found Meenakshi, Sreeshma Chandran, Steeja Mary, and Darsana Vikas through auditions. I had Jolly (Chirayath) chechi in my mind when I was writing the character of the middle-aged woman,' says Sivaranjini. 'Meenakshi worked at a parlour to prepare for her role,' adds the director about the newcomer who has delivered a convincing performance as a cheerful young woman, secretly burdened by her family and partner, seamlessly transitioning between the two moods. She won the Best Performance award at the Independent and Experimental Film Festival of Kerala 2025 for her portrayal. The change in protagonist's psyche is portrayed through light — its absence and temperature — constantly fluctuating between bright, warm frames and cold, dark frames. 'When you are limited to one space, you can only play around with elements like light. I wanted to show that she is someone who hides her emotions very well and when she is alone, she shows her true self.' Set in the women-dominated space of a beauty parlour, women are portrayed as being free. Existing disparities Victoria also raises questions about caste and class disparities still prevalent in society. 'I wanted to address caste because we live in a society where this exists and I couldn't avoid it from the scope of the film. It was inspired by the experiences of my friends who are in interfaith marriages. The first question others ask them is 'What is your partner's caste?'' Myths and faiths What did the rooster with its legs tied represent? The director says, 'For me, it is a spiritual presence. The central figure has a spiritual moment in the beginning when she touches the rooster for the first time. You also see her pick up a card from a box of Bible verses. On that day, the rooster becomes a source of spiritual support which helps her get through that day, to get out of the central conflict in the movie.' The 33-year-old says that since she had to correctly represent the myth about the saint and the ritual, visuals from the real festival have been used. 'It is like a found footage sequence. It was a document about an event which couldn't be replaced. People may be familiar with sacrificing roosters in a Hindu context, but a lot of people are not aware of it in the Christian context. I wanted them to see that,' she says. The beginnings Sivaranjini, an engineering graduate, developed an affinity towards movies as a child. 'My father was part of a film society in Angamaly, and I used to watch a lot of films early on. However, after Class 12, I could not convince my parents to let me join a visual communication or mass communication course.' She studied film and video communication at the National Institute of Design (NID), Ahmedabad, and made two short films, Ritham (2016) and Kalyani (2014). She joined the PhD programme at the Indian Institute of Technology Bombay, after a two-year stint as an editor. 'When I began, I wanted to bring in the people I have known for years to my crew. All of them were my friends for years — my DOP (Anand Ravi), music director (Abhaydev Praful), people handling the sound and so on. I wanted it to be their debut as well,' says Sivaranjini. Currently, in a rush to finish her doctoral thesis, Sivaranjini says, 'As a filmmaker, I want to work with the movie medium and its form and as a woman, I want to continue to make movies with a lot of women in them, to present them in roles we have never seen them in.'
