Dil Aashna Hai Film

[Quincey Homer]

Ashna Sran is a senior at Lewis University, majoring in Biology and minoring in Chemistry. She was exposed to filmmaking and film criticism early on in high school and has stuck with it ever since. Currently, Ashna is involved in water remediation research in the Chemistry department, and she finds it very interesting. After getting her degree, Ashna wants to attend medical school and become a physician. She has wanted to become a doctor since she was very young, and she is very excited about the next stage in her life. In her spare time, she loves to watch movies and TV shows, listen to music, and spend time with her family and dog. Her favorite titles include Knives Out, The Haunting at Hill House, New Girl, and A Quiet Place. She tries not to limit herself to a genre, so she likes to watch all kinds of movies and TV shows. Ashna hopes to learn more about visual media while writing her blog and expanding her taste in movies and TV shows.

The board of directors is welcoming new members in film programmer and producer Rebecca del Tufo; creative producer, executive producer, consultant and diversity advocate Tolu Stedford; and producer (and Screen Star of Tomorrow 2016) Yaw Basoah as trustees.

In April, campaigns lead Jo Taylor Hitchinson, operations manager Cristina Garcia and programme producer Rōgan Graham are set to leave Reclaim The Frame. The audience engagement position amalgamates the campaigns lead and programme producer roles.

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Some background on me: I studied film and TV for three years in high school. During this time, I gained an obsession with cinematography and deciphering media by nitpicking what was presented on screen. My lesson from this time was that in a good film or TV show, everything happens for a reason and everything that is displayed is essential to the plot. The aforementioned applies to color grading, usage of props, costumes, lighting, editing, sound, you name it. Also, during this time, I made many short films, advertisements, and public service announcements, of which one won an award for Best Comedic Narrative. I believe that having firsthand experience with media allows me to critique movies. With that, I must admit that I am no expert and am merely an amateur who enjoys consuming media. Projects that I really like tend to stick around in my head longer than usual, where I can analyze them to completion.

Shah Rukh Khan Divya Bharti Jeetendra Mithun Chakraborty Dimple Kapadia Amrita Singh Sonu Walia Kabir Bedi Raza Murad Satyendra Kapoor Amarjeet Mukherjee Nassar Abdulla Beena Banerjee Sushma Seth Sulabha Deshpande Farida Jalal Pankaj Udhas Renu Dhariwal Mohan Agashe Ram Mohan Shiva Rindani Bob Christo Bhushan Tiwari

All good things come to an end, though, and it's such a slap on the face to go from the girls' utopian ideals to the most predictably shitty gender dynamics that Bollywood can offer. I know it's not just Bollywood, Indian society is itself cruel to women, but the dialogues?! What was the need to be so aggressively anti-women??

granted the men deus ex machina almost every conceivable action sequence- but divya bharti is such a star man she carries the whole movie, and amrita singh, dimple kapadia and sonu walia single-handedly exhaust the budget of the entire costume department with the ahead-of-their-times oversized tshirt aesthetic, the three matching primary colour onesies aesthetic and the now-that-we're-older-we're-going-to-wear-the-most-stereotypical-depictions-of-our-respective-professions aesthetic.

so phyllida lloyd saw this & thought "let's make it more bollywood" & named it mamma mia?
tbh it's a pretty progressive film cuz it shows how those who are deemed upper class are the most discriminatory & even if they wear fancy clothes & live in swanky places, they spew garbage.
just like deewana, shah rukh khan's character gives up his "dhan daulat" to support divya bharati's character, both financially & morally. dimple kapadia, sonu walia, & amrita singh realize how performative their upper class-ness & politics are, & seek to correct it.
the flashback section sucks. and it ends with all the male heroes saving the day (so cliche). the plus point of that is you get to see shah rukh khan doing some crazy ass stunts. but yes, apart from all that, i think it boldly tackles feminism, politics, classism, etc.

Passes the Bechdel test with flying colors. Hats off to Hema Malini for making this very woman-centered film at a time when such things were risky and rare. The musical numbers are, to my admittedly Western 21st century eyes, overlong but I get why they were done that way. Dimple Kapadia did nothing to destroy her status as my #1 Indian cinema woman-crush. She glows even behind comically-large early 90s glasses. And baby Shah. What can I say except ?.

When the woman Laila has known as her mother on her death bed confesses that she was not her biological mother, Laila and Shahrukh go on a quest to find her true mother. In the book, Lily is a famous film star, and has the money and power to go on her revenge quest on her own. Here, Shahrukh proves his love for Laila by finding the orphanage she was stolen from by the brothel pimp.

Through flashbacks we see three young college girls played by Dimple Kapadia, Amrita Singh and Sonu Walia fall in love and one of them becomes pregnant. That is the same as Lace, but the blackmail of the headmaster of the college is cut from the Hindi movie. The great thing about this movie is seeing these three actresses act together as young girls, and then mature women. They rent a house together and enjoy all being mothers together of the young baby, but plan that the first to marry will adopt the little girl.

Though the lead roles were played by a couple-of-films-old Divya Bharti and an entirely new Shah Rukh Khan, the film was hailed for its star cast. Other important characters were played by the likes of Jeetendra, Amrita Singh, Dimple Kapadia, Mithun Chakraborty, Sonu Walia and Kabir Bedi.

Laila (Bharti), a club dancer, is informed by her dying mother that she is, in fact, not her biological mother. While there are quite a few hounds around the lonely 17-something girl, she sets out on the quest to find her roots, aided by Karan Singh (Shah Rukh Khan), son of a wealthy industrialist who owns the hotel where Laila performs.

The duo soon (you need to take the word seriously here) learn that she is, in fact, Sitara, who was handed over to an orphanage by three friends Barkha, Raaj and Salma. No one can really say who among them is her mother. Sitara and Karan plot to bring the estranged friends together to not only find out who the mother is, but also question her for abandoning the child.

Hema Malini tried to pick up the bold and hush-hush topic of pregnancy out of wedlock, but the guilt of abandoning the child lies sorely and solely on the mother. The father, by and large, remains untouched and unspoken of, as though he ceased to exist the moment Sitara was conceived. To a certain extent in the movie he does. He re-emerges heroically in the last scene, when Sitara has already found her mother and her roots.

Drama soars high throughout the film and at some places you wonder why. However, the director deserves credit for choosing a topic very few would have volunteered to shoulder. The secret of who the actual mother is, which looms over most of the film, too, has been handled well.

Aashna is continuously exploring the intersections of her South Asian identity, gender, and body politics through her work, and aims to amplify stories of BIPOC and marginalized identities while challenging mainstream and colonial narratives.

Agazi Afewerki, whose family is from Eritrea, and Mohammed Shafique, from Bangladesh, are friends. Together they made a film called The Myths About Regent Park, which set out to dispel the notion that their neighbourhood is a hotbed of crime.

This program is co-presented by VUCAVU and the Regent Park Film Festival in a partnership that was funded in large part by the following projects: Open Door (Toronto Arts Council) and VUCAVU Expanded (Canada Council) .

For the first time in her career Ashna Habib Bhabna is attending the Cannes Film Festival, at its ongoing 77th edition this year. Gracing the red carpet, the "Bhoyongkor Shundor" actress shared about her journey to the festival and her plans until the end of it with The Daily Star.

"I am happy to be here as a South Asian artiste," she said over the phone. "I came here on my own; I applied, and they sent me the accreditation letter after finding me eligible for the festival. It feels like a dream come true. For me, coming here as an actor makes me prouder than if I had come with a film."

Bhabna wants to explore the festival and learn more about the world's biggest markets for films. She believes that it is a significant opportunity for her and the Bangladeshi film industry as well. "I have met many filmmakers and artistes from across the world, and the good thing about this festival is that it helps us grow our networks as well."

In the evening of their local time, the red carpet was inaugurated, and the actress graced the opening ceremony wearing a midnight blue gown designed by Zoan Ash. Keeping her makeup and hair simple, she looked gorgeous.

Dil Aashna Hai was produced and directed by Hema under the HM Creations banner. The film starred Shah Rukh, Divya Bharti, Jeetendra, Mithun Chakraborty, Dimple Kapadia, Amrita Singh and Sonu Walia. Dil Aashna HaiDil Aashna Hai was the first film that Shah Rukh signed in 1991 but due to delays, it got released in December 1992. The release came just a few months after he made his debut with Deewana which released in June 1992.

Currently, Shah Rukh is gearing up for the release of Pathan. The film is backed by Yash Raj Films and directed by Siddharth Anand and features Shah Rukh in the lead role. The film also stars Deepika Padukone and John Abraham and will release on January 25, 2023.

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