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Girish Kasaravalli (born 3 December 1950) is an Indian film director, in the Kannada cinema, and one of the pioneers of the Parallel Cinema. Known internationally for his works, Kasaravalli has garnered fourteen National Film Awards, including four Best Feature Films; Ghatashraddha (1977), Tabarana Kathe (1986), Thaayi Saheba (1997) and Dweepa ...
Girish Kasaravalli was born on 3 December 1950 in Kesalur, Karnataka, India. He is a director and writer, known for Gulabi Talkies (2008), Naayi Neralu (2006) and Riding the Stallion of a Dream (2010). He was previously married to Vaishali Kasaravalli.
The Films of Girish Kasaravalli provides a detailed summary of each of the films that Sengupta has chosen to highlight, clearly supporting his case for presenting the Kasaravalli films not just as interesting narratives woven around core social issues much like the ‘commercial’ Hindi language films exhibited at multiplexes not only in India ...
Oct 18, 2021 · Girish Kasaravalli, Kannada film director, is one of the pioneers of ‘parallel cinema’ in India. Kasaravalli has won 14 national film awards, including four for Best Feature Film: Ghatashraddha (1977), Tabarana Kathe (1986), Thaayi Saheba (1997) and Dweepa (2002).
Jan 22, 2024 · Acclaimed Kannada filmmaker Girish Kasaravalli posits that cinema transcends mere plot or story; it is a discourse. Going beyond narrative conventions, the medium delves into socio-political realities, utilising them as a means to convey a story.
May 31, 2021 · In this conversation with film critic GP Ramachandran, filmmaker Girish Kasaravalli speaks about the inspiration for his new film Illiralaare Allige Hogalaare that was screened at the IFFK 2021 in the Kaleidoscope section, the film's politics and also weighs in on whether he thinks OTT could benefit parallel cinema.
Jun 19, 2018 · A prominent member of the new wave that placed Kannada cinema in the forefront of Indian cinema, Kasaravalli says Kannada parallel cinema and literature have always addressed political issues. “I think this was the only new wave in Indian cinema that directly talked about politics,” he reminiscences.
