The Immortals
The Immortals unveils the story of Indian cinema through the eyes of the filmmaker. The film is a personal journey travelling through time and space to unravel hidden stories and rediscover objects an…
The Immortals
The Immortals unveils the story of Indian cinema through the eyes of the filmmaker. The film is a personal journey travelling through time and space to unravel hidden stories and rediscover objects and images that at one time were an integral part of the lives of these artists through which their creations came into being. It is a visual exploration of physical artefacts, personal spaces and living memories where the image speaks for itself, recreating the impression of each artist whilst telling the story of Indian cinema. The film depicts the paradox of India's relationship with cinema: the romance and the power, the neglect and the worship. Dadasaheb Phalke's car abandoned by the side of a road; K.L. Saigal's harmonium fallen silent like his voice; the homes of Satyajit Ray and Baburao Painter where films like Pather Panchali and Savkari Pash took shape; a hundred-year-old cinematographer sifting through letters from Jean Renoir speaking of a deep and abiding friendship; the whirring of the only surviving black and white lab at AVM Studios; the quest for Anthony Gonsalves each image a reminder of how much we have lost, yet evoking memories that live on in spaces, objects and reminiscences of people. —Hammad Khan
The Immortals
Documentary
Film Details
The Immortals unveils the story of Indian cinema through the eyes of the filmmaker. The film is a personal journey travelling through time and space to unravel hidden stories and rediscover objects and images that at one time were an integral part of the lives of these artists through which their creations came into being. It is a visual exploration of physical artefacts, personal spaces and living memories where the image speaks for itself, recreating the impression of each artist whilst telling the story of Indian cinema.
The film depicts the paradox of India's relationship with cinema: the romance and the power, the neglect and the worship. Dadasaheb Phalke's car abandoned by the side of a road; K.L. Saigal's harmonium fallen silent like his voice; the homes of Satyajit Ray and Baburao Painter where films like Pather Panchali and Savkari Pash took shape; a hundred-year-old cinematographer sifting through letters from Jean Renoir speaking of a deep and abiding friendship; the whirring of the only surviving black and white lab at AVM Studios; the quest for Anthony Gonsalves each image a reminder of how much we have lost, yet evoking memories that live on in spaces, objects and reminiscences of people.
—Hammad Khan.