Amir Dutta’s latest film, Wittgenstein Plays Chess With Marcel Duchamp, Or How Not To Do Philosophy, is a 17-minute animation that adapts an essay of the same name by Steven B. Gerrard. The essay examines how Wittgenstein and Duchamp, both keen chess players, used the game to question language and perception. The film has a winking style of animation—by the director’s wife, Ayswarya S. Dutta—that involves the juxtaposition of cutout figures, objects and backgrounds. It’s a sprightly investigation into the nature of surface appearances and how we perceive meaning, packed with allusions to art, linguistics, philosophy and chess. Read More »
Nainsukh is a 2010 film directed by Amit Dutta based on the life and works of Nainsukh, an 18th-century Indian miniature painter.The film contains meticulous recreations of Nainsukh’s paintings through compositions set amidst the ruins and environs of Jasrota palace. where the artist was retained.
The film premiered at the 67th Venice film festival, where it was received by Film Comment as one of top 10 films shown. It’s North American premiere was at the San Francisco International Film Festival of 2011. Read More »
An eighteenth century notebook from the Western Himalayan Hills has recorded in it dreams as omens. Scenes from the waking memory of the artist seem to have enlivened dreams from a bygone era.
Coming from the family ateliers of the master painter Nainsukh of Guler, this journal of dreams is interesting not only for its ethnographical documentation but also for the excellent artistic qualities of the illustrations, underlined delightfully with sound and rhythm by the director Amit Dutta. Read More »
Suggestions of ancient and modern myths and folklore coalesce in dreams to bring alive a colourful animated world. Read More »
One of the most exciting films of 2009: Amit Duttas first feature is based on three short stories by Vinod Kumar Shukla and Saadat Hasan Manto. Maybe it indeed is about the problems of masculinity in the modern world (the director says so, at least), but there’s so much more to find in these images. There isn’t one conventional moment in the film. Dutta, one of the most idiosyncratic directors working today, makes every single shot completely his own. Read More »