{"id":22657,"date":"2010-10-08T10:30:06","date_gmt":"2010-10-08T10:30:06","guid":{"rendered":"http:\/\/thesamnet.co.uk\/?p=22657"},"modified":"2010-10-08T23:41:59","modified_gmt":"2010-10-08T23:41:59","slug":"%e0%ae%86%e0%ae%b0%e0%af%8d-%e0%ae%aa%e0%ae%bf%e0%ae%b0%e0%ae%a4%e0%af%80%e0%ae%aa%e0%ae%a9%e0%ae%bf%e0%ae%a9%e0%af%8d-%e0%ae%9a%e0%ae%9f%e0%af%87%e0%ae%be%e0%ae%b8%e0%af%8d-%e0%ae%92%e0%ae%aa","status":"publish","type":"post","link":"https:\/\/www.thesamnet.co.uk\/?p=22657","title":{"rendered":"\u0b86\u0bb0\u0bcd \u0baa\u0bbf\u0bb0\u0ba4\u0bc0\u0baa\u0ba9\u0bbf\u0ba9\u0bcd ‘\u0b9a\u0b9f\u0bc7\u0bbe\u0bb8\u0bcd \u0b92\u0baa\u0bcd \u0b9a\u0bc8\u0bb2\u0ba9\u0bcd\u0bb8\u0bcd’ – \u0b9a\u0bb0\u0bcd\u0bb5\u0ba4\u0bc7\u0b9a \u0baa\u0bbe\u0bb0\u0bbe\u0b9f\u0bcd\u0b9f\u0bc8\u0baa\u0bcd \u0baa\u0bc6\u0bb1\u0bc1\u0bae\u0bcd \u0baa\u0bc1\u0bb2\u0bae\u0bcd\u0baa\u0bc6\u0baf\u0bb0\u0bcd \u0baa\u0b9f\u0bc8\u0baa\u0bcd\u0baa\u0bc1!"},"content":{"rendered":"

\"Piradeepan_R\"<\/a>\u0baa\u0bbf\u0bb0\u0bbe\u0ba9\u0bcd\u0bb8\u0bbf\u0bb2\u0bcd \u0baa\u0bc1\u0bb2\u0bae\u0bcd\u0baa\u0bc6\u0baf\u0bb0\u0bcd\u0ba8\u0bcd\u0ba4\u0bc1 \u0bb5\u0bbe\u0bb4\u0bc1\u0bae\u0bcd \u0b86\u0bb0\u0bcd \u0baa\u0bbf\u0bb0\u0ba4\u0bc0\u0baa\u0ba9\u0bbf\u0ba9\u0bcd ‘\u0b9a\u0b9f\u0bc7\u0bbe\u0bb8\u0bcd \u0b92\u0baa\u0bcd \u0b9a\u0bc8\u0bb2\u0ba9\u0bcd\u0bb8\u0bcd’ \u0baa\u0bc1\u0bb2\u0bae\u0bcd\u0baa\u0bc6\u0baf\u0bb0\u0bcd \u0ba4\u0bae\u0bbf\u0bb4\u0bb0\u0bcd\u0b95\u0bb3\u0bbf\u0ba9\u0bcd \u0bb5\u0bbe\u0bb4\u0bcd\u0bb5\u0bbf\u0baf\u0bb2\u0bcd \u0ba8\u0bc6\u0bb0\u0bc1\u0b95\u0bcd\u0b95\u0b9f\u0bbf\u0b95\u0bb3\u0bc8 \u0baa\u0ba4\u0bbf\u0bb5\u0bc1 \u0b9a\u0bc6\u0baf\u0bcd\u0baf\u0bc1\u0bae\u0bcd \u0b95\u0bc1\u0bb1\u0bc1\u0bae\u0bcd\u0baa\u0b9f\u0bae\u0bbe\u0b95 \u0bb5\u0bc6\u0bb3\u0bbf\u0bb5\u0ba8\u0bcd\u0ba4\u0bb3\u0bcd\u0bb3\u0ba4\u0bc1. \u0baa\u0bbe\u0bb0\u0bbe\u0b9f\u0bcd\u0b9f\u0bc1\u0b95\u0bcd\u0b95\u0bc1\u0bb0\u0bbf\u0baf ‘\u0b8e\u0ba9\u0bcd \u0bb5\u0bc0\u0b9f\u0bcd\u0b9f\u0bc1 \u0bae\u0bc1\u0bb1\u0bcd\u0bb1\u0ba4\u0bcd\u0ba4\u0bbf\u0bb2\u0bcd \u0b92\u0bb0\u0bc1 \u0bae\u0bbe\u0bae\u0bb0\u0bae\u0bcd’ ( \u0bae\u0bb0\u0ba3\u0bbf\u0ba4\u0bcd\u0ba4 \u0b87\u0bb0\u0ba3\u0bcd\u0b9f\u0bc1 \u0bae\u0bc1\u0bb1\u0bcd\u0bb1\u0ba4\u0bcd\u0ba4\u0bc1 \u0bae\u0bbe\u0bae\u0bb0\u0b99\u0bcd\u0b95\u0bb3\u0bcd : \u0baf\u0bae\u0bc1\u0ba9\u0bbe \u0bb0\u0bbe\u0b9c\u0bc7\u0ba8\u0bcd\u0ba4\u0bbf\u0bb0\u0ba9\u0bcd<\/a>\u00a0) \u0b8e\u0ba9\u0bcd\u0bb1 \u0b95\u0bc1\u0bb1\u0bc1\u0bae\u0bcd\u0baa\u0b9f\u0ba4\u0bcd\u0ba4\u0bc8 \u0baa\u0b9f\u0bc8\u0ba4\u0bcd\u0ba4 \u0b87\u0bb5\u0bb0\u0bbf\u0ba9\u0bcd ‘\u0b9a\u0b9f\u0bc7\u0bbe\u0bb8\u0bcd \u0b92\u0baa\u0bcd \u0b9a\u0bc8\u0bb2\u0ba9\u0bcd\u0bb8\u0bcd’ \u0b89\u0bae\u0bcd \u0baa\u0bb2 \u0baa\u0bbe\u0bb0\u0bbe\u0b9f\u0bcd\u0b9f\u0bc1\u0b95\u0bcd\u0b95\u0bb3\u0bc8\u0baa\u0bcd \u0baa\u0bc6\u0bb1\u0bcd\u0bb1\u0bc1\u0bb3\u0bcd\u0bb3\u0ba4\u0bc1.<\/p>\n

\u0baa\u0bbf\u0bb0\u0bbe\u0ba9\u0bcd\u0bb8\u0bcd \u0bb9\u0bbe\u0ba9\u0bcd\u0bb8\u0bcd \u0bae\u0bb1\u0bcd\u0bb1\u0bc1\u0bae\u0bcd \u0b85\u0bae\u0bc6\u0bb0\u0bbf\u0b95\u0bcd\u0b95\u0ba4\u0bcd \u0ba4\u0bbf\u0bb0\u0bc8\u0baa\u0bcd\u0baa\u0b9f \u0bb5\u0bbf\u0bb4\u0bbe \u0b92\u0ba9\u0bcd\u0bb1\u0bbf\u0bb2\u0bc1\u0bae\u0bcd \u0ba4\u0bbf\u0bb0\u0bc8\u0baf\u0bbf\u0b9f\u0baa\u0bcd\u0baa\u0b9f\u0bcd\u0b9f \u0b87\u0baa\u0bcd\u0baa\u0b9f\u0bae\u0bcd \u0bb2\u0ba3\u0bcd\u0b9f\u0ba9\u0bbf\u0bb2\u0bcd \u0ba8\u0b9f\u0bc8\u0baa\u0bc6\u0bb1\u0bb5\u0bc1\u0bb3\u0bcd\u0bb3 \u0bb0\u0bc6\u0baf\u0bbf\u0ba9\u0bcd \u0b9f\u0bbe\u0ba9\u0bcd\u0bb8\u0bcd \u0ba4\u0bbf\u0bb0\u0bc8\u0baa\u0bcd\u0baa\u0b9f \u0bb5\u0bbf\u0bb4\u0bbe\u0bb5\u0bbf\u0bb2\u0bcd \u0b87\u0ba9\u0bcd\u0bb1\u0bc1 (\u0b92\u0b95\u0bcd\u0bb0\u0bc7\u0bbe\u0baa\u0bb0\u0bcd 08 2010) \u0b95\u0bbe\u0ba3\u0bcd\u0baa\u0bbf\u0b95\u0bcd\u0b95\u0baa\u0bcd\u0baa\u0b9f \u0b87\u0bb0\u0bc1\u0b95\u0bcd\u0b95\u0bbf\u0bb1\u0ba4\u0bc1.<\/p>\n

\u0b95\u0bbe\u0b9f\u0bcd\u0b9a\u0bbf\u0baa\u0bcd \u0baa\u0b9f\u0bbf\u0bae\u0b99\u0bcd\u0b95\u0bb3\u0bbf\u0bb2\u0bcd \u0b86\u0bb0\u0bcd\u0bb5\u0ba4\u0bcd\u0ba4\u0bc1\u0b9f\u0ba9\u0bcd \u0b88\u0b9f\u0bc1\u0baa\u0b9f\u0bcd\u0b9f\u0bc1\u0bb5\u0bb0\u0bc1\u0bae\u0bcd \u0b86\u0bb0\u0bcd \u0baa\u0bbf\u0bb0\u0ba4\u0bc0\u0baa\u0ba9\u0bcd \u0baa\u0bc1\u0b95\u0bc8\u0baa\u0bcd\u0baa\u0b9f\u0ba4\u0bcd\u0ba4\u0bc1\u0bb1\u0bc8\u0baf\u0bbf\u0bb2\u0bcd \u0b87\u0bb0\u0bc1\u0ba8\u0bcd\u0ba4\u0bc1 \u0ba4\u0bbf\u0bb0\u0bc8\u0baa\u0bcd\u0baa\u0b9f\u0ba4\u0bcd\u0ba4\u0bc1\u0bb1\u0bc8\u0b95\u0bcd\u0b95\u0bc1 \u0bae\u0bbf\u0b95 \u0ba8\u0bbf\u0ba4\u0bbe\u0ba9\u0bae\u0bbe\u0b95\u0bb5\u0bc7 \u0b85\u0b9f\u0bbf \u0b8e\u0b9f\u0bc1\u0ba4\u0bcd\u0ba4\u0bc1 \u0bb5\u0bc8\u0b95\u0bcd\u0b95\u0bbf\u0ba9\u0bcd\u0bb1\u0bbe\u0bb0\u0bcd. \u0bb2\u0ba3\u0bcd\u0b9f\u0ba9\u0bbf\u0bb2\u0bcd \u0baa\u0bc1\u0ba4\u0bbf\u0baf\u0bb5\u0ba9\u0bcd \u0b9a\u0bc1\u0bb5\u0bbf\u0bb8\u0bbf\u0bb2\u0bcd \u0b85\u0b9c\u0bc0\u0bb5\u0ba9\u0bcd \u0b9f\u0bc6\u0ba9\u0bcd\u0bae\u0bbe\u0bb0\u0bcd\u0b95\u0bcd \u0b9a\u0bc1\u0baa\u0bbe\u0bb8\u0bcd \u0ba8\u0bc7\u0bbe\u0bb0\u0bcd\u0bb5\u0bc7\u0baf\u0bbf\u0bb2\u0bcd \u0ba4\u0bae\u0baf\u0ba8\u0bcd\u0ba4\u0bbf \u0b95\u0ba9\u0b9f\u0bbe\u0bb5\u0bbf\u0bb2\u0bcd \u0b9a\u0bc1\u0bae\u0ba4\u0bbf \u0bb0\u0bc2\u0baa\u0ba9\u0bcd \u0baa\u0bc7\u0bbe\u0ba9\u0bcd\u0bb1 \u0b9a\u0bbf\u0bb2 \u0b95\u0bc1\u0bb1\u0bc1\u0bae\u0bcd\u0baa\u0b9f \u0b86\u0bb0\u0bcd\u0bb5\u0bb2\u0bb0\u0bcd\u0b95\u0bb3\u0bcd \u0bb5\u0bb0\u0bbf\u0b9a\u0bc8\u0baf\u0bbf\u0bb2\u0bcd \u0baa\u0bbf\u0bb0\u0bbe\u0ba9\u0bcd\u0bb8\u0bbf\u0bb2\u0bcd \u0b86\u0bb0\u0bcd \u0baa\u0bbf\u0bb0\u0ba4\u0bc0\u0baa\u0ba9\u0bbf\u0ba9\u0bcd \u0bb5\u0bb0\u0bc1\u0b95\u0bc8 \u0b86\u0bb0\u0bc7\u0bbe\u0b95\u0bcd\u0b95\u0bbf\u0baf\u0bae\u0bbe\u0ba9\u0ba4\u0bbe\u0b95\u0bb5\u0bc7 \u0b89\u0bb3\u0bcd\u0bb3\u0ba4\u0bc1.<\/p>\n

._._._._._.<\/p>\n

Shadows of Silence-Movie by Pradeepam Raveendran beats 20 Indian film, goes to Cannes Film Fest<\/strong><\/p>\n

Mumbai, April 22 (Calcutta Tube)<\/em><\/p>\n

Paris-based Sri Lankan director Pradeepan Raveendran\u2018s film \u2018Shadows of Silence\u2018, listed as a French entry, will be presented in the Directors\u2019 Fortnight section at the 63rd Cannes Film Festival May 12-23. Based in Paris, Raveendran makes films in Tamil and Sinhala and his \u2018Shadows of Silence\u2019 has beaten 20 Indian films \u2014 none of which were selected \u2014 to the Directors\u2019 Fortnight.<\/p>\n

\u2018Shadows of Silence\u2019 is described as being about the \u2018nightmares and realities of a depressed person in exile\u2019. He has directed, produced and written this 11-minute fiction film himself.<\/p>\n

Raveendran\u2019s earlier film \u2018A Mango Tree in the Front Yard\u2019, also a French entry, was selected by the Berlin Film Festival in 2009, and nominated for a Golden Bear for best short film. It has been screened around the world, including the International Film Festival of Los Angeles and the Museum of Modern Art (MOMA), New York.<\/p>\n

Set in war-ravaged Sri Lanka, \u2018A Mango Tree in the Front Yard\u2019 focuses on three children for whom even walking home from school proves dangerous. The MOMA described the film as \u2018spare and haunting\u2019. A film in Tamil, it credits the Association of French Tamil Exiles as co-producer.<\/p>\n

Born in Jaffna, Raveendran, 29, left the island in 2004 because of the ethnic conflict, and was granted political refugee status in France in 2007. He is active with the Tamil diaspora community in Europe. He is on the editorial board of Uyirnizhal (Shadow of the Soul), a political-literary Tamil diaspora quarterly magazine.<\/p>\n

He organised two photography exhibitions in Paris and Berlin on the theme of life in exile. His photographs highlight the lives of immigrants who struggle to survive in Paris without valid permission, avoiding attention and detention.<\/p>\n

As for India, the Cannes festival has two official invitations. The first is for Shekhar Kapur, who has been selected on the Feature Film Jury.<\/p>\n

The other is for director Vikramaditya Motwane, whose film \u2018Udaan\u2019 has been chosen in the official selection of the festival. Motwane\u2019s debut feature will be screened in the Un Certain Regard (A Certain Look) section of the festival.<\/p>\n

(Meenakshi Shedde is India Consultant to the Berlin Film Festival and curator to international festivals worldwide.)<\/p>\n

Exile and ‘Shadow of Silence’<\/strong>
\nFilm review by Charles Sarvan, Sunday Island, Colombo, August 29, 2010<\/em><\/p>\n

”Shaving, he looks at himself in the mirror but not self-admiringly, as young Narcissus did by the pool. Rather, he seems not to look at the mirror but to search deep in it for answers to existential questions: What is this life? Who am I? That the day has no structure for him suggests he\u2019s unemployed. The last scene is of a snow-covered landscape, and the spread-eagled body of the man: a dark figure; white snow, and the red of seeping, spreading, blood.”\u00a0<\/p>\n

[I have] watched the smoke that rises from the pipes
\nOf lonely men in shirt-sleeves, leaning out of windows
\n(T. S. Eliot)\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n

Many Sri Lankan artists (\u201cartists\u201d in a wider sense) who settle abroad continue to base their work on the Island, and so it was with Pradeepan Raveendran (b. 1981) in his earlier, much-acclaimed,\u00a0 \u2018A mango tree in my front yard\u2019. But \u2018Shadows of Silence\u2019, set in France where the producer now lives, has to do with exile. It is remarkable that so much can be contained within a time-frame of, approximately, ten minutes. A restrained, suggestive work, relying on symbolism, capable of different \u201creadings\u201d (the title, \u2018Shadows of Silence\u2019, included), it stands comparison with the best of such films.<\/p>\n

The film commences with a desolate winter scene of snow-covered ground, and high-rise flats without any sign of human habitation. Are the adults at work, and the children in school? A few crows, traditional harbingers of misfortune, fly around, cawing jarringly. The film then \u201ccuts\u201d to the celebration of a little girl\u2019s birthday.\u00a0 A picture is duly taken of father, mother and the three children, but the father seems detached, withdrawn into his own world. The mother looks distracted (worried about the mental and emotional state of her husband?) but tries to present a face appropriate to the party. (One thinks of Virginia Woolf\u2019s novel, \u2018Mrs Dalloway\u2019, and foreign Lucrezia, helpless, unable to stop her husband retreating into mental and emotional regions where he can no longer be reached.) The next scene is of the father who has \u201csucceeded\u201d in committing suicide. A mat on the floor is his makeshift bier. He is mourned by his family and aged parents. The children are sad and solemn, uncomprehending and bewildered.<\/p>\n

In a time-shift, we see the man about to cut his wrist, but \u201crecalled\u201d to life and duty by his little son \u201ccalling\u201d for him. Shaving, he looks at himself in the mirror but not self-admiringly, as young Narcissus did by the pool. Rather, he seems not to look at the mirror but to search deep in it for answers to existential questions: What is this life? Who am I? That the day has no structure for him suggests he\u2019s unemployed. The last scene is of a snow-covered landscape, and the spread-eagled body of the man: a dark figure; white snow, and the red of seeping, spreading, blood.\u00a0 A mobile-telephone rings in the silence of snow and death. Is it a failed attempt to reach out and connect; to comfort and encourage? Was it his worried wife? Perhaps, she has succeeded in finding employment of a kind, and therefore must be absent? Earlier too, the phone had rung but the man had switched it off, wanting only to be left alone. Much credit goes to the main actor, Krishna Subramania, who suggests strength and isolation and, while being vulnerable, is never pathetic. It is a powerful performance, all the more so for its restraint.<\/p>\n

As he dreams (or is it fantasy, a \u201cdream\u201d while not asleep?) that a python is winding itself round his naked body, the man makes sensuous sounds. An interpretation suggests itself: the python kills by strangulation; exile-life is suffocating, and death the much longed for orgasm of release. Repeatedly, the man sees himself dead: in Freudian terms, it\u2019s \u201cwish fulfilment\u201d. Freud, in \u2018Beyond the Pleasure Principle\u2019, theorised that we are driven by two major instinctual drives: the sexual (associated with life and self-preservation), and its opposite, the death-wish (thanatos), that is, a seeking to return to an earlier state, to the quiet of non-existence. In some individuals and \/ or in certain circumstances, thanatos triumphs over the drive to live. In Dr Johnson\u2019s \u2018The History of Rasselas\u2019 (Chapter 43) it is observed that the worst possible misfortune which can befall a human being is the loss of reason. Depression, as in this film, overcomes reason, erases the victim\u2019s sense of balance, proportion and perspective and, with those gone, her or his sanguinity. Freud drew a distinction between \u201cmelancholy\u201d (generalised and vague) and \u201cmourning\u201d or sorrow which is specific: similarly, a \u201cpain\u201d can be located, identified and, often, treated while an \u201cache\u201d is more difficult to cure or alleviate, being diffused.<\/p>\n

Banishment and exile are as old as human history. In the Western tradition, the Trojans, their city captured and sacked, are carried away into exile. At the beginning of the Common Era, Ovid wrote his \u2018Sorrows Of An Exile\u2019. In Richard II (Act 1, Sc. iii), Norfolk, sent into exile, laments the loss of his \u201cnative English\u201d. (Norfolk feels he is too old to master, and feel comfortable in, a new \u201ctongue\u201d. By depriving him of his language, he has been sentenced to \u201cspeechlessness\u201d, which is a form of death.)\u00a0 Among other events closer in time are the \u2018Partition\u2019 of India, the expulsion of Asians from Uganda, and \u201cethnic cleansing\u201d in the Balkans. Some Sri Lankan Tamils (such as the producer\u2019s parents?), feeling oppressed in the present, despairing of the future at \u201chome\u201d, undertake costly, arduous and hazardous journeys into exile.\u00a0<\/p>\n

As already mentioned, many writers have dealt with the theme of exile. At random, Salman Rushdie, Caryl Phillips and Edward Said come to mind. It is very much a modern phenomenon and condition. However, Ian Buruma (2001) and others have warned that exile has become \u201cfashionable\u201d: the focus tends to be on writers and intellectuals, and those of the middle-class, rather than on those who do not \u201cmake it\u201d, those who eke a difficult, if not despairing, existence on the margins of their new country. These remain, forever, foreigners. To them, to be a stranger and feel strange is everyday and normal. In the film, a broken branch, black on the white snow, lies by the path, severed and\u00a0 \u201cout of place\u201d.<\/p>\n

We are social beings, and to life in society and community, language is normal and expected. A silent person can cause unease. In \u2018Julius Caesar\u2019, Cassius makes Caesar uncomfortable because he (Cassius) reads, observes and thinks \u2013 three activities which imply silence. Of course, there are many kinds of silence, such as the silence of the dead, which we expect and accept. Silence can also mean harmony: \u201cA friend is someone with whom one can be silent\u201d (L.S.). In a structural dichotomy, silence is the absence of sound, even as darkness is the absence of light, but in drama and film, we depend not on narration but presentation, presentation through action and language, the last being mainly dialogue, that is, speech. So silence in a film draws attention to itself, becomes significant. Paradoxically, the absence (of sound) becomes a presence.\u00a0<\/p>\n

Shadows reflect mutely; are silent. The silence here seems to signify the sense of utter alienation and loneliness that the central character experiences, despite his family, relations and friends. As the film proceeds, this silence intensifies and becomes almost palpable. \u2018Shadows of Silence\u2019 is a silent scream for help from one who is no longer accessible and, therefore, beyond help.\u00a0 \u201cI was much too far out all my life \/ And not waving but drowning\u201d (Stevie Smith). That the man has no name makes him anonymous and, at the same time, representative of the many unnoticed, \u201cunsung\u201d casualties of exile – irrespective of time, place and ethnic origin. (Of course, in as much as some living in their own homeland also fall victim to depression, by no means do all exiles succumb to it: others at the birthday party are happy.)<\/p>\n

We remember the children. Their home will be France; their attitudes, expectations and experiences different \u2013 and, hopefully, so too their lives. The date on the child\u2019s birthday cake is January 2010. The month explains the snow, but also marks the start of a New Year and beginning. Foreign countries, sometimes, kindly gift what \u201chome\u201d unkindly denied.<\/p>\n

Only one solace:
\nthere have been
\nothers too,
\nlingering in that twilight,
\nwho shed
\nhome and country…<\/p>\n

(\u2018Leaving the Country\u2019, Bahadur Tejani)<\/p>\n

Charles Ponnuthurai Sarvan
\nGermany\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n

(As often, with thanks to Liebetraut Sarvan)<\/p>\n","protected":false},"excerpt":{"rendered":"

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Shadows of Silence-Movie by Pradeepam Raveendran beats 20 Indian film, goes to Cannes Film Fest Mumbai, April 22 (Calcutta Tube) Paris-based Sri Lankan director Pradeepan Raveendran\u2018s film \u2018Shadows of Silence\u2018, listed as a French entry, will be presented in the Directors\u2019 Fortnight section at the 63rd Cannes Film Festival May 12-23. Based in Paris, Raveendran makes films in Tamil and Sinhala and his \u2018Shadows of Silence\u2019 has beaten 20 Indian films \u2014 none of which were selected \u2014 to the Directors\u2019 Fortnight. \u2018Shadows of Silence\u2019 is described as being about the \u2018nightmares and realities of a depressed person in exile\u2019. He …<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[64,97,29],"tags":[],"_links":{"self":[{"href":"https:\/\/www.thesamnet.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/22657"}],"collection":[{"href":"https:\/\/www.thesamnet.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thesamnet.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thesamnet.co.uk\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thesamnet.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=22657"}],"version-history":[{"count":0,"href":"https:\/\/www.thesamnet.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/22657\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.thesamnet.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=22657"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thesamnet.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=22657"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thesamnet.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=22657"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}