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Though Indian cinema drew a blank at the Cannes official selections and sidebars, the country has a sizable presence at the Market, with more than 40 films in various stages of progress represented, and many more via the India Pavilion.

Saurav Rai, whose short “Gudh” (Nest) was a selection at the Cinefondation section in 2016, returns to Cannes with his debut feature “Nimtoh” (Invitation). Part of the Hong Kong-Asia Film Financing Forum Goes to Cannes program, the film follows a boy and his grandmother who are excited about an upcoming wedding in their remote mountain village.

Fresh off its world premiere at Tribeca, Bhaskar Hazarika’s tale of forbidden passions “Aamis” (Ravening) is represented at the Market by German sales outfit Media Luna.

The Maharashtra Film, Stage and Cultural Development Corp. is a regular presence at the Market and this year it is showcasing three films: veteran Sumitra Bhave’s “Dithee” (Seeing...

Still from Nobel Chor

Bijuka by Ashtar Sayed, Kagojer Bou (The Paper Wife) by Bappaditya Bandopadhyay and Nobel Chor by Suman Ghosh will participate in Asian Competition at the upcoming 12th Dhaka International Film Festival.

Chandrayaan by Santhosh George Kulangara, Umma (Mother) by Vijayakrishnan, Parijayee by Indronil Banerjee, Abhiman by Debanik Kundu, Asob Prem Ebong …….by Arindam Dey, Jetuka Pator Dare (Enchanting, Challenging…the Life) by Jadumoni Dutta and Life! Camera Action (USA/India) by Rohit Gupta will screen in Cinema of the World section.

Sneha Yatre (Journey of Friendship) by J. Samson will be shown in the section for Children’s films.

The Indian short films to be screened at the festival are Shwet (White) by Kanchan Ghosh, Jantranar Dalil:Ritwik (Documenting Agony:Ritwik) by Debjani Halder, Disha (The Clue) by Jyotirmoy Ghosh and Knocking On Heaven’s Door by Sanjay Barnela.

Kaveri by Shilpa Munikempanna will be shown in the section for women filmmakers.

Of the 265 films eligible [1] for Oscars at the 84th Annual Academy Awards in February, 97 of them have been deemed worthy to be nominated for Best Original Score. Thomas Newman (The Adjustment Bureau, The Debt, The Help, The Iron Lady) and Michael Giacchino (Cars 2, Mission: Impossible - Ghost Protocol, Monte Carlo, Super 8) lead all eligible composers with four films this year while Alexandre Desplat (Extremely Loud & Incredibly Close, Harry Potter and the Deathly Hallows Part 2, The Ides of March), Tyler Bates (Conan the Barbarian, The Darkest Hour, The Way), Mark Isham (The Conspirator, Dolphin Tale, Warrior) and Henry Jackman (Puss in Boots, Winnie the Pooh, X-Men First Class) all have three. Other familiar names are on the list too such as John Williams (The Adventures of Tintin, War Horse), James Newton Howard (Green Lantern, Water for Elephants) and Danny Elfman (Real Steel, Restless) who along with Alberto Iglesias (The Skin I Live In,...

The Academy of Motion Picture Arts and Sciences has announced that ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®.

The eligible scores along with the composer are listed below in alphabetical order by film title:

“The Adjustment Bureau,” Thomas Newman, composer

“The Adventures of Tintin,” John Williams, composer

“African Cats,” Nicholas Hooper, composer

“Albert Nobbs,” Brian Byrne, composer

“Alvin and the Chipmunks: Chipwrecked,” Mark Mothersbaugh, composer

“Anonymous,” Thomas Wander and Harald Kloser, composers

“Another Earth,” Phil Mossman and Will Bates, composers

“Answers to Nothing,” Craig Richey, composer

“Arthur Christmas,” Harry Gregson-Williams, composer

“The Artist,” Ludovic Bource, composer

“@urFRENZ,” Lisbeth Scott, composer

“Atlas Shrugged Part 1,” Elia Cmiral, composer

“Battle: Los Angeles,” Brian Tyler, composer

“Beastly,” Marcelo Zarvos, composer

“The Big Year,” Theodore Shapiro, composer

“Captain America: The First Avenger,” Alan Silvestri, composer

“Cars 2,” Michael Giacchino, composer

“Cedar Rapids,...

I was actually beginning to believe Cliff Martinez's score for Drive may actually have a shot with all the love it has received in the precursor awards, but last night the Academy announced the list of 97 scores eligible for Best Original Score at the 2012 Oscars and, oops, what do you know, both Drive and Attack the Block didn't make the cut. The only other score I had on my current list of predictions for the category to not make the cut was Howard Shore's music for David Cronenberg's A Dangerous Method. Why? Well, I would assume somewhere inside there the rules for requirement weren't met. As per the Academy, "To be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer. Scores diluted by the use of...

Yesterday the Academy of Motion Pictures Arts and Sciences released the 97 original film scores that will running for the final five nominations for the Best Original Score category at the upcoming 84h Academy Awards. Billy Crystal will be hosting the annual awards show, which be presented on February 26, 2012. Some how I am not surprised that Attack the Block got nixed, seeing that Tron: Legacy pretty much got the same treatment last year. Glad to see that Henry Jackman’s X-Men: First Class is getting a nod, and of course Trent Reznor and Atticus Ross had to be in it. Check out the full list below.

December 22, 2011

For Immediate Release

97 Original Scores in 2011 Oscar® Race

Beverly Hills, CA – Ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.

The...

Where is God? What is soul? What is spirituality? You’ll find the answer to none of those questions in the ambitiously titled but shallow In Search Of God, a documentary about a young girl’s quest for spiritual enlightenment and her attempt to see what different religions have in common. Composer-turned-filmmaker Rupam Sarmah’s film is well-intentioned and handsomely produced but only as incisive as the subject he chose for his cameras to follow; a woman about as deep as a puddle after a sun-shower.

Kavita Srinivasan came to the Us from India as a young teen, now a recent MIT grad with a degree in architecture living in L.A. trying to break into showbiz. A foxy, self-confident “party girl”, her life revolves around looking good, shopping, and partying with her attractive, like-minded friends. But the poor girl concludes that, despite this privileged lifestyle, “I didn’t have...