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  1. 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 ...

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  3. 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.

    • Director, Writer, Producer
    • December 3, 1950
    • Girish Kasaravalli
  4. The book explores the films of Girish Kasaravalli, a Kannada language filmmaker who challenges the art and commercial divide in cinema. It analyzes eight of his films based on novels, set in the context of Indian socio-political issues and cultural heritage.

  5. 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).

    • Kasturi Building, Anna Salai, 859-860, Mount Road, Chennai, 600002, Tamil Nadu
  6. Jan 22, 2024 · Learn about the life and works of Girish Kasaravalli, a renowned Kannada filmmaker and critic who deconstructs scenes and defies norms. Explore his perspectives on Indian cinema, adaptation, emotion, and more in this interview.

  7. May 31, 2021 · The filmmaker talks about his inspiration, themes and challenges in making a film based on a short story by Jayanth Kaikini. He also discusses the role of OTT in parallel cinema and the audience response to his depiction of caste and class.

  8. 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.