Director: Jabbar Patel, Tendulkar’s first independent Marathi script and Jabbar Patel’s debut is set in Maharashtra’s notorious sugar co-operatives, the power base of the state’s Congress Party. In his best-known screen role the noted Marathi stage and film actor Phule plays Hindurao Dhonde Patil with the familiar body language of the arrogantly corrupt politician secure in his power. He covers up an incident involving the military officer Maruti Kamble (Agashe) until a mystic hobo, a former schoolteacher, amateur magician and drunkard (Lagoo) challenges the politician’s might. The film continues directly from Tendulkar’s 70s theatre but glorifies cinema’s ability to show actual locations. Lagoo sang the hit song Kuni tari ashi phataphat.
Bulgaria/1972 /100 min
Director: Metodi Andonev, A film which is widely regarded as one of Bulgaria’s major successes. A man leaves his home, his wife is savagely raped by four marauders and dies. All this the young daughter watches. The man returns, cuts his daughter’s hair to boy’s length and vows revenge brilliantly recreated historical drama and a complex study in relationships between the father, his daughter and her attempt at finding the love which he denies himself and her. The action of The Goat Horn based on a short story by Haitov, takes us back to the 17th century, when the first forms of spontaneous popular struggle and protest against the Ottoman oppressor made their appearance.
Director: Basu Chatterjee, The novelist Manu Bhandari (Mahabhoj, Aapka Banti) was also associated with the 50s literary Nai Kahani movement in Hindi. Her story chronicles the life of a working woman, Deepa (Sinha) torn between two lovers: her intended husband, the gregarious bank clerk Sanjay (Palekar) and Navin (Thakur) whom she meets in Bombay when applying for a teaching job. Palekar’s debut performance in Hindi established his best-known screen image as a bumbling common-man hero. It was Basu Chatterjee’s breakthrough into mainstream Hindi cinema, encouraging the notion that low-budget art-house films can be commercially successful.
Director: Helma Sanders-Brahms, Based on a series of letters written by a schizophrenic woman named Rita G., No Mercy, No Future (Die Beruhrte) is Helma Sanders-Brahms' controversial film about the troubled daughter (Elisabeth Stepanek) of uncaring bourgeois parents. Without proper psychiatric treatment for her unearthly visions, she prowls the streets along the Berlin Wall at night in search of God, but settles for the company of strange, exiled men.