“No admissions in schools without money”

Gaurav is an independent filmmaker, a graduate in Film Direction & Screenplay Writing from the prestigious Satyajit Ray Film & Television Institute, India. His films, fiction, documentary and experimental, have been screened at various national and international film festivals. He has been a producer/member of a film collective, Lightcube, acclaimed as one of the leading resources for research and presentation of image-forms. His interests lie in audio-visual forms that intersect various folk-indigenous and modern-technological rationalities of storytelling. “Abridged” won the Golden Royal Bengal Tiger for Best National Documentary.

The film begins with the images of a construction site, while a voice from the news talks about the partial collapse of Majerhat Bridge in South Kolkata, and the disaster the event caused. Images of various parts of the city intermingle with each other, some of them somewhat artistic some of them more documentary-like, as the director seems to catch daily life in the area from the very early morning. Newspaper distributing, people sleeping on the street under bridges, trains passing under bridges and passerby all become part of the narrative.

As the film description states, “In recent years, Kolkata has witnessed the collapse of bridges Majerhat being the most recent. Set in the context of rapid urbanization, the film, titled “Abridged” examines the lives of various bridges, both over and under–how lives are organized around the bridge as a public space”. As such, the focus of the movie is on exactly that, describing everyday life in the city, and particularly the part of it that takes place under bridges.

It is impressive to watch people having set up shops under the constructions for example, as a shoe salesman highlights quite eloquently, while a number of them, seem to actually live beneath them. Schoolgirls playing with a dog, a mother combing her children’s hair, a chicken jumping in front of a motorcycle, cars parking are just some of the things that happen under bridges, in a testament on how life can take place anywhere, particularly in such crowded places as Kolkata.

The construction of bridges is also highlighted, through some very intriguing frames and close ups, with Puri and his cinematographer Sukhan Saar evidently being able to find beauty in the most surprising moments, not omitting however, to show that reality is also ugly, as the garbage and the corrosion of the constructions highlights. A man talking about how without money, people cannot even attend school adds a social comment in the narrative as does the aforementioned salesman who talks about how the government wants them to leave, but they have nowhere to go. In that same fashion, the signs on the street that state ‘buy less, built more” appear as rather ironic, also in a testament to the meaningful editing here by Pritam Mandal.

A song heard in the background as the night falls once more, while the bridge builders keep working, a couple of voyeuristic scenes, a child looking at the camera, a man setting up his “bed”, a woman who sheds light on the reasons people end up living under bridges, and a man with his goat herd passing the street, conclude the movie.

Gaurav Puri follows an observational approach, in a documentary though, that is exceptionally shot, with the documentation of reality moving hand to hand with visual beauty. This combination, and the presentation of a life that is very seldom depicted on cinema deems “Abridged” as an exquisite film, a testament to the prowess of all people involved in it.

Entertainment and tech festival South By Southwest will be expanding across the pond to London in June 2025, growing the influential brand’s reach internationally.

The new festival will be centered around Shoreditch, an artsy area in East London known for its nightlife, street art and creative spaces.

In addition to the typical music, tech, entertainment and gaming panels expected of SXSW, the London festival will also include discussions about visual arts, design and fashion, according to the SXSW London website.

“When I was part of SXSW in Austin in 2018, I saw first-hand the electric atmosphere of innovation SXSW creates,” London mayor Sadiq Khan said in a statement on the site. “This is a historic opportunity for London to once again brings the world’s most exciting talent together.”

The expansion gives SXSW a presence in Europe. Founded in 1987 in Austin, Texas, the eclectic festival was originally focused on music, but later broadened to include film and interactive media and entertainment, as well as discussions with entrepreneurs, tech leaders, politicians and media figures.

SXSW’s expansion comes as some film festivals have struggled. Last month, the nonprofit Sundance Institute, which runs the Sundance Film Festival, said it would start looking for another location for the 2027 festival, which has long called Park City, Utah, home.

The market for film festivals — and the kinds of adult-oriented arthouse movies and documentaries they promote — has become challenged as audiences have more options for home entertainment. Festivals including SXSW took a major hit during the COVID-19 pandemic, when in-person events were canceled.

SXSW sold a 50% stake in 2022 to a venture run by Penske Media Corp., the owner of entertainment publications including Billboard, Variety and Rolling Stone.

We Grown Now, 2023.

Written and Directed by Minhal Baig.
Starring Blake Cameron James, Gian Knight Ramirez, S. Epatha Merkerson, Lil Rel Howery, Jurnee Smollett, Ora Jones, Giovani Chambers, and Avery Holliday.

SYNOPSIS:

Two young boys, best friends Malik and Eric, discover the joys and hardships of growing up in the sprawling Cabrini-Green public housing complex in 1992 Chicago.

Writer/director Minhal Baig’s We Grown Now is a moving tale of a tested childhood friendship during the ups and downs of Cabrini-Green life. Minhal Baig has pulled together various stories of what it is like to grow up and live in the Chicago housing complex, setting the story here in 1992, mostly focused on Malik (Blake Cameron James), who believes that there are no rules here and that the only thing that matters is seeing how high you can jump.

This is, obviously, a film with sincere affection for a specific place in time, but also not one that lets periods spent allowing viewers to observe the housing complex hallways and homes (whether it be from the boys here dragging mattresses down multiple floors or stairs since the elevator is busted, or gentle camera movements taking us from one floor, above to the next) to get in the way of drawing these characters and telling an authentically engaging story about the trials and tribulations of raising a family in Cabrini Green, ensuring that the children are safe, and of course, the joys of living there as an innocent child assuming that just because one young boy has been shot and murdered, they will be safe.

Malik and his best friend Eric (Gian Knight Ramirez) play outside, discuss what they want from the future, and also debate about Chicago-specific arguments, such as whether Michael Jordan needed Scottie Pippen or not to lead the Chicago Bulls to NBA championships. The film was wise enough not to overly romanticize life here, which was increasingly weighed down upon by oppressive local law enforcement insisting that due to the recent shootings, everyone (including the children) requires a keycard to enter their homes. Cinematographer Pat Scola is also fittingly instructed not to photograph these policemen’s faces during some scenes, keeping the vantage point from the low perspective of the children and often sticking with their reactions.

Meanwhile, Malik’s mother, Dolores (a winning performance from Jurnee Smollett), is a woman uncertain of how to continue making ends meet while putting up with the unfortunate failings of the housing complex. She is a family woman close to her mother (S. Epatha Merkerson) and isn’t so much still grieving the loss of her father but still paying tribute to him at dinner as a means to instill the importance of family onto Malik. On the same floor, Eric struggles with his education as his single father, Jason (a delightful dramatic turn from the reliably hysterical Lil Rel Howery), does his best to tutor the boy while managing the funds for his older daughter’s upcoming high school graduation.

Once it becomes clear that one of these families is contemplating making a drastic change to their lives, a rift emerges in the friendship between Malik and Eric, which is believably heartbreaking but threatens to become overwritten in the film’s third act. Thankfully, the script pulls away from that and returns to the initial theme of jumping and what it means to soar. Similarly, We Grown Now is a sweet and charming tale of friendship set inside a specific setting, with that combination of romanticism and honesty allowing it to fly.

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

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