Q: What are your aims for the future?
A: I have no big aims for the future as I would rather like to face it as and how it comes.
Q: Then is your education based on any particular firld?
A: Yes, my ambition is to be a Fashion Designer.
Q: Why is that you like to be a fashion designer?
A: I like to discover new trends in fashions.
Q; What’s your mother and father have to say about your choice?
A: My mother wants me to become a doctor. Father normally wants his children to do whatever they like right and meritorious.
Q: Your bonding is more with your mother or with your father?
A: With mother
Q: How do you feel about the recognition you received from the public because of your parents?
A: It’s great, and I have no words to explain it. But there are occasions it becomes a nuisance.
Q: What character of your mother you like most?
A: Everything, she likes to help people and try her level best even she cannot help.
Q: Your fathers?
A: My father is a friendly and humane character; he doesn’t like to hurt feeling of others and treats everyone equally.
Q: What are others comments about your character?
A: Most of them say I’m like my mother.
Q: What was the present you received from mother recently?
A: A Batik Bag.
Q: How others call you at home?
A: Amma calls me ‘Doni” thaththa ‘Duwa’ and Aiyya calls me ‘Nangi’.
Q: How is your relationship with your brother?
A: He loves me a lot, though he hits me when got angry with me.
Q: What’s his ambition?
A: He wants to be an Audio engineer.
Q: Who’s the best at singing?
A: Aiyaa, he is best at singing English songs.
Q: What are the songs you like that your parents sing?
A: Mother’s ‘ Api punchi panchi’ and Father’s ‘Marambari’.
Q: Your favorite singer?
A: None.
Q: Favorite song?
A: Neela Wickramasinghe aunty’s ‘Master Sir’.
Q: When did your father feel sad about you most?
A: I think he always suffer because of me, He never misses to drop me when and where ever I wanted to go. So I feel sad about him.
Q: Do you like to become an actress?
A: No. I was at Some uncle’s ‘Siri Raja Siri’ and in couple of Tele dramas, but will not continue acting even got any invitations.
Q: What are you fond of?
A: Chocolates and shopping. I think greedy for food especially for chocolates is my bad habit.

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These images of Ranjan in saree will bring you the memories of Kanchana movie, which the Indian actor, Sarath Kumar played his role as the heroin of the plot, originally. We will bring more information about this film in near future.

Ranjan Ramanayaka, the multi-talented artist has shown his skills in acting, film direction, singing and dancing is also a politician in real life. He is the opposition leader of Sabaragamuwa Provincial Council, Sri Lanka. Even before joining the politics, Ranjan was a social activist , who called for a national attention to support Sri Lankan migrant workers suffering in middle east countries and other nations. He has been often critical of political policies and does not shy away from having a voice. So we can hope he does the same in this movie playing a role of a female.

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Kurumittek Awilla Sinhala Film Crew

Sarath Wickrema Music Director
Fazal M. Jinna Music Director
M.K. Sudhakar Production Manager
Chandana Edirisingha Assistant Director
Keerthi Ruwan Lalsan Art Director
Priyantha Ishwara Make-up Artists
M.S. Aliman Editor
Danny W. Pathirana Cinematographer
A.A. Junaideen Director
A.A. Junaideen Producer
A.A. Junaideen Story
A.A. Junaideen Script

Veteran A. A. Junaideen’s latest children’s film ‘Kurumittek Ewilla’ will hit the silver screens from Friday March 30 in the CEL circuit.

Junaideen said the exemplary movie comes with an exciting storyline which will be loved by the children especially.

“This is a true film for the children. It carries a theme and message that suits children,” said Junaideen who has written the story and screenplay in addition to directing it.

Veena Jayakody, Cletus Mendis, Richard Weerakkody, Nuwangi Liyanage, Sudhakar, Chandrika Perera, Ranasinghe Loluwagoda and Sumith Suranga play the key roles while child artistes Vinoth, Thisuna Perera, Chathura and S. Khan play the children’s characters.

Priyantha Eshwara had handled the make up, Keerthi Ruwan the art direction, Danny W. Pathirana the camera while Chandana Edirisinghe has assisted in the direction. Sarath Wickrema has directed the music.

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Wassane Senehasa Sinhala Film Crew
Upul Priyantha Producer
Sudath Dharmapriya Producer
Densil Jayaweera Script
Densil Jayaweera Director
Densil Jayaweera Story
Densil Jayaweera Dialogs

Wassane Senehasa Sinhala Film Official Trailer

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Event :
Vivaha 150 – Hair, Beauty and Bridal Fair Exhibition 2012
13th, 14th and 15th January 2012 at BMICH
Photos from the Bridal show – Vivaha 150 – Hair, Beauty and Bridal Fair Exhibition 2012

All Images are Copyrighted and Owned by Adrian Dharmaratne
adrian.sdh@gmail.com

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Directed by : Sumith Galhena

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Q: How do you intend to bring the aesthetic element in love through Cindrella?

A: Recently almost all the romantic movies made in the country have been market-oriented. They enhance the glamorous side of romance to enthrall the audience with stunning costumes, landscapes, dance sequences and incidents rather than capture it’s sensitivity. I too have taken the audience’s tastes into account but I have focused more on the aesthetic beauty behind love without harming its cinematic quality.

Though productions like Golu Hadawatha, Duhulu Malak and Gahanu Lamai are centred on love, they are enriched with cinematic qualities and the aesthetic nature of love. Love encompasses a wide range of features like the beauty, innocence, sorrow, heartbreak and a magical element.

Love is a universal topic. Romance is hackneyed in films but it will make its presence felt from the beginning of cinema till its end. We cannot avoid it. It is connected with our existence. It is timeless. The drawback is that everyone, especially Sri Lankan filmmakers, handle it in a stereotyped manner.

Q: Your second movie comes nine years after Sulang Kirilli (Wind Bird). Why did you take so long to make your second production?

A: Three local filmmakers requested me to make a movie during the past eight years. I even wrote a script for a producer but soon realised that I cannot do what I really have in mind for the movie.

My personal satisfaction is important to me. I should be able to enjoy making the film as well as watching it. I need to be honest to my creation rather than use it as a mere money making machine. I engaged in making documentaries during the past few years and decided to stay away from cinema till I get a chance to make a movie the way I want.

Q: What were the difficulties you faced in making Cindrella?

A: Though I got into filmmaking after eight years I was in touch with the field because I have an undying passion for movies. I started films from my early teens. Even today my happiest moments are when I am watching a good movie. I have watched films from all types of genres from across the world. I updated myself on the subject. This experience and knowledge came in handy while making Cindrella.

I could not spend lavishly on making the movie because I had to mortgage one of my lands to get the production costs. There were certain restrictions because of the lack of funds. I also engaged a lot of new crew members in the project and had to face some practical problems due to their lack of experience. I was under a lot of working pressure because I had to get involved in others chores besides directing so that things ran smoothly. For the first time in Sri Lankan cinema I have employed four cameramen to shoot the movie at different stages. I used a cameraman who has done music videos to shoot some of the romantic scenes.

We shot Cindrella in Hambantota and Tangalle. Most of our film directors shoot their movie in the backdrop of waterfalls and flower gardens. Our country is situated in the humid zone. I have used different locations which embody the features of the humid zone for Cindrella.

Q: You dealt with a controversial topic in Sulang Kirilli by centering on issues like abortion and illegal relationships. Now Cindrella too seems to have its side of controversiality.
A: Certainly. I believe that Cindrella too embodies a controversial streak. However I did my best to structure the movie in a manner so that the whole family could watch it together. Sulang Kirilli addresses the youth because the youth of Sri Lanka are not given a proper sex education. It projects on an unmarried woman begetting a child. This is a topic not aimed at the elder generation though the film was labeled as a film for adults. Therefore those who should have seen and gotten the moral message of the production were deprived of the opportunity of watching the film.

I have been more careful in making Cindrella so that it does not escape my target audience. Though this is not an entertainment driven commercial film, it includes features that anyone can enjoy.

Sulang Kirilli is based on a true incident. Cindrella too is pieced together using some of the real life incidents which I have faced. I also tried to link the story with the lovers who are watching the film.

We should always try to cultivate a belief which goes beyond privacy. Films like Dr Lester James Peries’ Gamperaliya and Golu Hadawatha embody a social discourse. The Oscar winning Titanic is based purely on love while The English Patient deals with love while moving on to other aspects.

There are many layers in cinema in which we can discuss purely about love or go beyond and address other social issues. That depends on the director’s choice. A film needs to embody a cinematic aspect and if that is lacking in a production we tend to label it as a commercial film. We also dub films which draw in masses as commercial films. What if the audience flocks to watch an art film? Would you call it a commercial movie as well? Hollywood movies are never categorised in this manner. ET and Titanic ran into full houses but they were rich in cinematic aspects.

Q: Why did you decide on Akalanka Ganegama and Upeksha Swarnamali for the lead roles?

A: The movie deals with a very sensitive love story that unfurls within a week’s period. The hero of Cindrella is the most important character in this tale. I did not like to use a popular actor to see his star quality to overcome Chandula’s personality. I wanted to introduce a new face.

I saw Akalanka’s performance on Sirasa Dancing Star. He has a good male physique. His face has the innocence which I wanted for Chandula’s character. He has the ability to express certain emotions through body language. I believed that there is a talented actor in him.

Akalanka did not wish to become an actor at first. We had to search for a substitute for nearly 10 months. Later Akalanka phoned me and expressed his desire to read the script. Then he agreed to do the movie.

I actually planned to cast another actress opposite Akalanka but unfortunately, due to the delay, she had to leave the project. Upeksha stepped in and fitted into Isanka’s role beautifully.

Q: It is rumoured that Akalanka and Upeksha are an on and off screen couple after working in Cindrella.

A: It is normal for people to start gossiping about an eye-catching pair in a production. I see this as a positive aspect because this shows that the audience is interested in the project. Though the fans have attributed what they have seen on screen to real life, this is also a sign that they are eagerly waiting to watch the film.

Q: Some time back you have said that Sri Lanka lacks a good film culture. Is this your present perception as well?

A: In an island which accommodates a considerably small population we have made a good number of films which have competed at international film festivals and even won a number of prestigious awards.

However we do not get a lot of response from the local audience when we screen such films at theatres. This is due to the lack of a proper discourse.

There is no proper place to distribute academic knowledge about cinema in Sri Lanka. We gain knowledge mainly from overseas. Recently Sripali Mandapa launched studies in cinema but it takes time to get the feedback.

Countries like Bangladesh and Malaysia have not made as many globally acclaimed films like us but they have an academic base in which students engage in studies and research.

Our cinema personalities are reduced to mere celebrities due to this problem.

Their role as academics is not recognised. We need to launch this discourse via institutes, universities, schools, fan clubs and on provincial level instead of talking about productions on and off at awards ceremonies or an occasional seminar.

Q: Have you planned any other projects after Cindrella?

A: I will start working on a Sri Lanka-France co-production which will star a Sri Lankan actress next year. All her dialogues will be in French.

By Ruwini Jayawardana at http://www.dailynews.lk/2011/11/21/fea20.asp

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Seasoned film producer Sunil T Fernando hopes to add yet another film to his collection, with the launch of his latest movie titled Jeevithaya Lassanai (Life is Beautiful).

The new movie will feature a popular cast which includes Ranjan Ramanayaka, Tennyson Cooray, Ananda Wickramage, Wilson Gunerathne, Anton Jude, Susila Kottage and Robin Fernando.

The movie will also feature some new faces: Ruwanthi Rathnayaka, Maheshi Maduwanthi and Nethu Priyangika.

The film is Sunil T’s 53rd production. Speaking to the media at the muhurath ceremony held in Rajagiriya, Ranjan Ramanayaka said, “Not many have done as many films as Sunil T Fernando. The service he has done to the Sri Lankan cinema is immense. He has lived through tough times and good times and still strives hard to add something new to the field.”

Jeevithaya Lassanai will revolve around a comic plot. The movie revolves around an uneducated, wealthy businessman, Aron, who lives under the false notion that he will face a tragic death, unless his four daughters get married on the same day. More complications are added to the storyline, as one of his daughters falls in love with a young man called Vishva. However when the duo asks from Aron’s permission to get married, he objects to the marriage, as he fears that curse or the proclamation would come true.

The movie is expected to be an entertaining one filled with laughter. It is directed by Sudesh Wasantha Peiris. Teddy Vidyalankara is the fight director. The music is by Keshan Sudantha Perera.

The assistant direction and editing will be done by Kumara Siri de Silva. Costume designing is by Banu Karunanayaka.

Article by Amalshan Gunerathne at http://www.dailynews.lk/2011/11/21/fea20.asp

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The day of special significance, in that it marks the 65th anniversary of Sinhala cinema.

The film was shot entirely at the Ranminitenna Tele Cinema Village.

The cast of more than 1,000 actors and actress includes Jackson Anthony, Puja Umashankar, Ravindra Randeniya, Veena Jayakody, Chandani Seneviratne, Palitha Silva, Kusum Renu, Mahendra Perera and Gamini Jayalath.

The script and dialogue are by the late Dr. Tissa Abeysekara.

Hot on the heels of a historic movie comes another historic project based on a Buddhist theme. This time it is from the Jathaka tales and one of the most popular among the lot. This is the story of one of Prince Siddhartha’s previous births, one in which he was born with a disfigured face and had to woo the most beautiful princess in the land. Renowned art personality Prof Sunil Ariyaratne will bring the story to the wide screen. The script which is penned by Dr Tissa Abeysekara is believed to be the last film script he had worked on before passing away. “Making a movie based on Kusa Jathaka had been my dream. Though Jathaka tales had been related by the Buddha there are some stories similar to those in Greek, Arabian and European folktales.

The public like to listen to stories. They would enjoy watching such stories unfolding on screen even more,” Prof Ariyaratne said. The Kusa Jathaka is the 523th Jathaka story in the 550 Jathaka book. Indian folktales came to Sri Lankan with Arahant Mahinda Thera’s visit. Many temple murals and poems were influenced by them. Works like Kav Silumina and Kusa Jathaka Kavya were based on Kusa Jathaka. In 1870 Kusa Nadagama was brought to light by John Marthanius Paulas Peiris Samarasinghe. A nurthi creation named Kusa Jathaka Dhrushya Kavya was produced by John de Silva while Dr Eidirweera Sarachchandra brought Pabavathi to stage.

Versatile artiste Jackson Anthony will be portraying King Kusa’s role. “Kusa Jathaka had often been confused with the Ummaga Jataka. Some even confuse King Kusa’s appearance with Kala Gola’s outlook. There is a difference between these characters’ appearances. Kala Gola who is dark and short had set off a comical atmosphere while King Kusa’s face was disfigured in such a way that it resembled a devil,” Anthony explained.

The beautiful and charming Pooja Umarshanker will ignite the screen again with her luminous presence in Kusa Paba. “I don’t know how they convinced my father to let me act again but he granted me permission to work in this film. I am so excited to be a part of this beautiful tale,” an enthusiastic Pooja said. Shooting will begin in July. The locations are in Ranminithanna Tele Cinema Village. Kusa Paba will also be the first Sri Lankan film to be shot in Ranminithanna

Trailer of Kusa Paba Sinhala Film

Photo Collection of Kusa Paba Sinhala Film

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Hair and Makeup – Capello Salons
Photographer – Raffealla Fernando
Wardrobe – Raffealla Fernando
Stylist – Raffealla Fernando
Retouched – Raffealla Fernando

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මෙම අවස්ථාවට සිවිල් ගුවන් සේවා අමාත්‍ය පියංකර ජයරත්න, පාර්ලිමේන්තු මන්ත්‍රී සජින් වාස් ගුණවර්ධන, ජනාධිපති ලේකම් ලලිත් වීරතුංග, ආරක්ෂක අමාත්‍යාංශ ලේකම් ගෝඨාභය රාජපක්ෂ, ජෝන් කීල්ස් සමාගමේ සභාපති සුසන්ත රත්නායක යන මහත්වරු ඇතුළු පිරිසක් සහභාගි වූහ.

The floating restaurant in the Beira Lake in Colombo named as the “Pontoon North 8″ has been launched under the sponsorship of Cinnamon Lake Side Hotel.
The 70-feet long restaurant was built at a cost of 100 million rupees. It can accommodate 100 persons.

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Physical as well as spiritual developments are both important when considering the overall development of a country. Creativity and perception can be considered an integral part of spiritual development.

Though, there are thought processes, which enhance the Arts and Aesthetics in our country, facilities necessary for enhancing creativity are sadly lacking. This is common to all Arts in Sri Lanka. For example, the hosts of technology shortcomings are responsible for the dearth of mega cinematic creations emanating in our country. Yet, we are the proud heirs to a level of performing arts coming down from a long period of time which can overcome these short comings. Some of these have a long history, going back to a period surpassing other civilizations the world over. It is a felt need of hour to modernize, what we have inherited, to suit the present century.

Facilities in our halls, where dramas can be staged today are poor. The theatres available, even in the main towns, of our island, are over fifty years old and have little in the way desired facilities,. In spite of these short comings our audiences are privy to productions of very high quality.

In order to develop a contemporary tradition it should be our task to indulge in research and the development of new creations, rather than protect and replicate our traditional system per se. This theatre of performing arts can be envisaged as a place where skills, fresh ideas are blended to form a truly Sri Lankan mega tradition.

While this stage and facilities will give new value to our performing arts it will provide an opportunity for our artistes to take their creations to the international arena.

Further, we have not been able to get down to Sri Lanka any of the great operas produced internationally. When Khemadasa produced an opera on an unfamiliar stage, it appeared to be foreign to us, because we had no idea of operas, as we had not come into contact with them earlier

The absence of suitable facilities may have been the reason for Khemadasa’s inability to storm this gigantic production on to the international stage. It may have been the absence of a stage of this magnitude that unfortunately prevented us from getting the full effects of this maestro’s production.

This is not just another construction of the Chinese Government. The possibilities to make use of the latest creative sound techniques have come along with it. The present generation will have the privilege of using the varied facilities that were not available to the giants of yester years, such as Sarachchandra and Khemadasa. Therefore, we can hope to witness quality productions in the future.

This theatre will also give a fillip to drama as a component of school education. A new generation of artistes will be born. It will be possible through this addition, to hope for a new dialogue, a new introduction as an alternative to the poor values, the lack of progressive ideas, and poverty in quality that are the order of the day and that these would be replaced by a fresh dialogue that would bring fresh values, progressive ideas, steeped in quality. Many facilities such as a modern stage, needed by performing Thespians are included in this theatre. This would result not only in a new awakening but also in advanced technological knowledge of performing arts and their use and also much needed discipline, the technological advances in stage dramas, are emerging as a vehicle bringing in new ideas to the fore. As such a dialogue will be created whereby recognition of indisciplined and vulgar productions will be recognized and rejected.

We are much obliged and grateful to the Government of China for providing us with a theatre of this nature.

Great honour is also due to our President His Excellency Mahinda Rajapaksa, who insists not only on the physical development but also the spiritual development of the nation and made this dream of a modern theatre a reality.

Nelum Pokuna Theatre , Colombo
Official Photography: Sagara Lakmal De Mel
2011©Sagara Lakmal De Mel, Following photos by Sagara Lakmal De Mel

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Photographed By Lolitha Samarajeewa
Hair & Make up : Gayani Batz
Outfits : Niluka Wanigarathne (“The Stitch”)
Retouching By Amy Rachel ( http://www.modelmayhem.com/2417023 ) & Lolitha Samarajeewa
Location : Gods Paradise Nature Resort ( http://www.godparadise.net/ )

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ARASH will be performing Live at the Excel World open air arena on the 9th of this month from 8 PM onwards.

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From a mere back-up dancer, she moves up the ranks to leading lady in the 80s, now rechristened Silk, flaunting her heaving bosom and simulating orgasms with as much pleasure on screen as she would off it. Needless to add, movie theatres fill up just to see Silk and empty out just as fast once her bits are done, never mind the heroic antics of the male leads. Journalists sell magazines with sensational headlines and provocative covers of Silk in a time where a female actor getting such precedence over the males was simply unthinkable. Silk’s films are deemed vulgar and crass, catering to the lowest common denominator – the front benchers so to speak, but she powers on, paying no heed to the naysayers whatsoever.

The main players in Silk’s life are a wannabe Hollywood director type, Abraham, played by Emraan Hashmi who despises her; an ageing and chauvinistic superstar, Suryakant, who desires her, played superbly by Naseeruddin Shah; and his meek younger brother, Ramakant, played by Tusshar, who admires her. The role that each of them, along with the filmmaker who gave her her first break, play in moulding and altering her life, is the essential story of the film.

Though she is a hero in her films, going about her risqué routines in front of the camera with uninhibited wanton, she is vulnerable and fragile when it comes to her personal life. Vidya as Silk draws you into her story from the first frame of the film to the very end, in a manner most beguiling as it is bewitching – be it her raunchy moves, clever lines, anguish, enjoying sex, joy, her drunken stupors or defeat. Not for a moment do you feel she is not Silk – she owns the character. She makes her job look so very easy, and that’s really what a good performance is all about. There is one scene in the film where she looks eerily like the late jazz singer, Amy Winehouse, sans the beehive hairdo, in a drug-fuelled haze. Vidya put on 12 kilos for the role and carries off the itsy-bitsy costumes like she was born to flash skin, some wobbly bits notwithstanding. Very brave! It’s more a “take it away Vidya” than “put it away” really. Flowery adjectives don’t seem appropriate to laud her incredible work in the film. Silk entices and nails her lovers; Vidya just nails the role!

Not for a moment do you feel Vidya is not Silk – she owns the character. Image from the film’s Facebook page.
Naseeruddin Shah is just brilliant as Suryakant – the lecherous, philandering and self-absorbed cretin that he plays. He elicits mirth and disgust in equal measure in his portrayal as a superstar.

Tusshar looks and plays his part with credible restraint and Emraan’s performance is just as able.

The film stays true to the 80s era in its production values – the sets, sound, cinematography, costumes, language, locations, music and the lyrics. The Ooo La La song picturisation is very reminsicent of the Jeetendra-Sridevi starrers like Tohfa, Himmatwala and Mawali and it’s very enjoyable. Milan Luthria has done a fantastic job helming such a sensitive, yet very bold story in an extremely dignified manner, not once resorting to pulling a vulgar or cheap gimmick in the entire film. There are some memorable lines in the film like, “Bhagwan ne jab ek zindagi di hai to do baar kya sochna,” “Zindagi jab mayoos hoti hai, tabhi mehsoos hoti hai” and “Main Silk hoon Silk, koi film nahin ki interval ke baad badal jaaon.” Some of the dialogues are loud and lewd, but go with the colloquial parlance of the film. Like when Silk asks Suryakant who brags about his 500 conquests, “Kabhi ek se 500 baar tuning ki hai?” or “Raat mein 12 baje ki suiyon ki tarah chipke rehte aur ho din mein 6″.

The second half of the film feels like the pace slowed down, if only a tad, but only because the first half was a thrilling ride. A couple of characters like the younger actress Shakila could have been cast better and the dance off between her and Silk is just long drawn out. Silk can’t come to terms with her cruel ouster from the business by the very people that loved her – her loyal audience – and she tries to numb out the reality of her slipping from the top ranks with alcohol and arrogance which only speed up her fall even further.

Producer Ekta Kapoor is coming into her own as a film producer, having reigned supreme on television for more than a decade now. The Dirty Picture is a brave attempt at “different” — a very abused term in the film business. She has always adhered to the “content is king” rule and The Dirty Picture tells you a real story with the grit and the glam, without compromising on the entertainment value of the film. She tasted success with her last film, Once Upon A Time In Mumbai starring Ajay Devgn, Emraan Hashmi and Kangna Ranaut, and The Dirty Picture is poised for a great run at the box office.

During the interval, when a guest was eyeing a Thums Up, I couldn’t resist saying, “You’ve tasted the thunder inside; I don’t think this is going to work!” She agreed.

Article from http://www.firstpost.com/

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The new theatres are located on the fifth floor of Majestic City, leading off from a bright and spacious lounge area. Among the cinemas’ features are wheel chair access ramps, and, for Gold cinema visitors, free refreshments.
The existing cinema on the fourth floor, the Platinum cinema, continues to offer the largest seating capacity, with 445 seats, and plans are underway to introduce 3D to this cinema too.

According to Cinema Complex Manager, Nelson Rajaratnampullai, tickets for the Platinum and the Ultra, which has a 148 seating capacity, are priced at Rs. 400. Tickets for the 3D Superior, with 170 seats, are priced at Rs. 600, and for the smaller but more luxurious Gold, seating a total of 50, tickets are priced at Rs. 750. Photos and text by Maryam Azwer
The 3D cinema made its public debut on Friday (2), with the screening of The Three Musketeers, while MC’s Gold and Ultra are now screening Hugo and Tower Heist respectively.

The new theatres are located on the fifth floor of Majestic City, leading off from a bright and spacious lounge area. Among the cinemas’ features are wheel chair access ramps, and, for Gold cinema visitors, free refreshments.
The existing cinema on the fourth floor, the Platinum cinema, continues to offer the largest seating capacity, with 445 seats, and plans are underway to introduce 3D to this cinema too.

According to Cinema Complex Manager, Nelson Rajaratnampullai, tickets for the Platinum and the Ultra, which has a 148 seating capacity, are priced at Rs. 400. Tickets for the 3D Superior, with 170 seats, are priced at Rs. 600, and for the smaller but more luxurious Gold, seating a total of 50, tickets are priced at Rs. 750.

Photos and text by Maryam Azwer at thesundayleader.lk

සුපිරි සිනමාහල් සංකීර්ණයක් මැජස්ටික් සිටි පස්වන මහලේ අද සිට
ලංකාවේ ප්‍රථම නවතම සිනමාහල් සංකීර්ණය දෙසැම්බර් 01 දා බම්බලපිටියේ මැජස්ටික් සිටි සාප්පු සංකීර්ණයේ පස්වන මහලේදී විවෘත කෙරේ. මේ නව සිනමාහල් සංකීර්ණයට සිනමාහල් තුනක් ඇතුළත් වන අතර දැනට පවතින සිනමාහලත් සමඟ මේ සංකීර්ණයේ සිනමා ශාලා ගණන 4 ක් වනු ඇත. මෙම සිනමාහල් පිළිවෙළින් ‘අල්ට්‍රා’, ‘සුපිරියර්’, ‘ගෝල්ඩ්’ සහ ‘ප්ලැටිනම්’ නමින් නම් කර ඇත. මේ සෑම සිනමා ශාලාවක්ම නවතම චිත්‍රපට ප්‍රක්ෂේපණ යන්ත්‍රවලින් සමන්විත වන අතර ඩි. ටී. එස්. ශබ්ද පහසුකමින් යුක්තය. නව සිනමා හල් තුන විවිධ ප්‍රමාණවලින් යුක්තය. ‘අල්ට්‍රා’, ආසන 50 කින් යුක්ත වන අතර සුපිරියර් සිනමාහල, ත්‍රිමාන චිත්‍රපට ප්‍රදර්ශනය සඳහා අවශ්‍ය නවතම ත්‍රිමාන ප්‍රක්ෂේපණ යන්ත්‍රයකින් සමන්විතය. සිනමා ශාලාවේ ආසන හා අවන්හල් හා ආලින්ද නවතම පහසුකම්වලින් යුතුය.

අද (පළමුවැනිදා) විවෘත වන මෙම සිනමා ශාලාවල නවතම හොලිවුඩ් චිත්‍රපට තුනක් තිරගත කෙරේ. අල්ට්‍රා සිනමා ශාලාවේ ‘ටවර් හෙස්ට්’ චිත්‍රපටයද, සුපිරියර් සිනමාහලේ ‘ද ත්‍රී මස්කෙටියර්ස්’ ත්‍රිමාන චිත්‍රපටය ද,, ගෝල්ඩ් සිනමාහලේ ‘හියුගෝ’ සජීවිකරණ චිත්‍රපටය ද තිරගත කෙරෙනු ඇත. මෙම සිනමාහල් සංකීර්ණය සිලෝන් තියටර්ස් සමාගමට අනුබද්ධ සිනමා එන්ටර්ටේන්මන්ට්ස් සමාගමේ ඉදිරිපත් කිරීමකි.
From Sarasaviya.lk

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• Sarasaviya News Pepar

Red Bull’s Champion Pilot Peter Besenyei will fly across the beach belt in Unawatuna to perform acrobatic flying stunts, on Saturday, December 3rd, at the Red Bull Air Show.

Red bull has established The Red Bull Air Race in 2003 which is an international series of air races in which competitors have to navigate a challenging obstacle course in the fastest time. Pilots fly individually against the clock and have to complete tight turns through a slalom course consisting of pylons, known as “Air Gates”.Red Bull Air Race World Championship will not be held in 2011. In what it is a first ever, Red Bull, will bring the an epic acrobatic air show “Red Bull Air Show” in this December at Unawatuna , Sri Lanka.

After a series of Motor Sports events Red Bull now brings stunts in the air through acrobatic flying. Christened as the Godfather of the Red Bull Air Races, Peter Besenyei, will fly across the beach belt in Unawatuna in what will be a pioneering event in Sri Lanka.

With 4 FAI World Grand Prix titles, Peter is no stranger to this former of sport. Being the pioneer in his field, Peter also holds the honor of winning the European World Championship & World Championship twice each.

Prior to the event Peter will attempt to fly above the UNESCO world heritage site of Sigiriya. The teaser shoot will take place on the 2nd of December against the backdrop of the iconic Sigiriya Rock. The Red Bull Air Show will take place the following day on the 3rd alongside an exhibition in the air by the Sri Lank air force as well.

The Red Bull Air Show was launched at an exclusive launch ‘take-off’ party which was an invites only event for the crème de la crème of Sri Lankan society. This will be followed by the re-launch of the once famous flight nights in Colombo and down South.

Peter Besenyei being one of the most successful pilots in race history and is widely admired for his smooth yet aggressive style of flying. It is sure going to be once- in – a – life – time moments in your life. Mark the day and the time and walk in FREE to this phenomenal event that is going to take place in a dynamic destination, the picturesque Unawatuna Beach belt.
Red Bull Air Show | Unawatuna Beach, Sri Lanka by Peter Besenyei

Photo Courtesy : Shaan Panagoda @ Icon cinematography | All Rights Reserved.

information from http://www.xtreamyouth.com/

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A source close to the actress says, “She is in Colombo shooting an ad for an international food brand. While there, she got an offer for a Sinhalese film.”

Budgets for Sri Lankan movies are quite small compared to Bollywood, and an actor there is paid around US $1,000 for a full-fledged role. “Since Jackie gets paid very well in Bollywood, the director and producer offered to pay her US $10,000 for the part. It’s too small an amount for Jackie, as she can make the same amount through appearances in India. But since the role is a cameo and she wants to do something in Sri Lanka, Jackie has decided to do the role for free.”

Jacqueline’s business manager confirms the development, “Yes, Jackie has been approached to do a Sri Lankan film. It is the country’s most expensive film to date and they plan to spend four times more on the budget. Jackie wants to do the film only because she wants to give something back to Sri Lanka. It’s just one scene but they want to promote it as her first film there. After the Sri Lankan cricketers, Jackie is the most popular face there.” One of Sri Lanka’s biggest rock band, Bathiya & Santhush, has composed a song for the film and the makers want Jacqueline to be a part of the song too. “Though Jackie is very keen to do the film, currently we are working out the dates.” (Source: Times Of India)

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Model – Gayesha Perera
Photographer -Raffealla Fernando
Hair and Makeup- Capello Salons
Retoucher -Raffealla Fernando
Styling and Concept- Raffealla Fernando
Wardrobe- Raffealla Fernando

Team – Capello Salons Team, Romesh Attapattu, Asanka Attapattu, Hasanjith Chaturanga Kuruppuarachchi

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images from karaliya.com

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ජයප්‍රකාශ් සිවගුරුනාදන් එහි අධ්‍යක්ෂවරයා වේ. කිං හන්තර් චිත්‍රපටය නිර්මාණය කළ සිවගුරුනාදන්ගේ දෙවැනි සිනමාපටය මෙය වේ.

විජය නන්දසිරි ද්විත්ව චරිත මැවීමට නියමිත මෙහි දිල්හානි ඒකනායක, මහේන්ද්‍ර පෙරේරා, සේමිණී ඉද්දමල්ගොඩ, ගිරිරාජ් කෞශල්‍ය, මිහිරි සිරිතිලක ඇතුළු රංගන ශිල්පීන් ගණනාවක් රංගන දායකත්වය සපයනු ඇත.

තිලක් සේනාසිංහ, ගිරිරාජ් කෞශල්‍ය සමඟ මිහිර සිරිතිලක කතාව දෙබස් තිර රචනය කොට තිබේ.

සෝමා එදිරිසිංහගේ නිෂ්පාදකත්වය යටතේ ඉදිරිපත් වන මෙම සිනමා සිත්තම සඳහා රුවන් කොස්තා කැමරා අධ්‍යක්ෂණයෙන්, ප්‍රසන්න ඉත්තෑපාන සහය අධ්‍යක්ෂණයෙන්, සිරිනාත වික්‍රමසිංහ කලා අධ්‍යක්ෂණයෙන් එක් වෙති.

රවීන්ද්‍ර ගුරුගේ සංස්කරණයෙන් දායක වෙයි. නිහාල් සංජය නිෂ්පාදන විධායකවරයාය. අසංක එදිරිසිංහ සහ දීපා එදිරිසිංහගේ විධායක නිෂ්පාදනයකි.

Semini Iddamalgoda, Giriraj Kaushalya, Mahendra Perera, Dilhani Ekanayake, Vijaya Nandasiri,

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‘Train to Kandy’ – straddles the genres of crime and drama, and is the story of two young women on the run for their lives. The film introduces child actress Deshani Pathirana, actor Kalana Gunasekara and it’s the first feature film appearance for the actor, Menaka Rajapaksa.

The outline of the film promises many a nail biting moment as a 24 year old call girl Jenny and a 14 year old runaway girl Amanda find themselves in an exceptionally difficult position – with the charge of murder hanging over their heads, the two must evade their most determined pursuer. Marlon, a diabolic thug and the son of the victim in question, holds the girls responsible and wants them captured at all costs.

The plot is the creation of Udana. As with their other projects, the duo split the responsibilities: Udana served as the Screenwriter and Director and Ray was the designated Director of Photography and handled the postproduction among other things. The two tell the Mirror Magazine that making films in Sri Lanka is still a difficult business – and that to get as far as they have is the result of a careful balancing act. Keeping films low budget yet managing to create a film that is entertaining means a carefully thought out script is one of the first things required. However, the two are also determined to keep their stories different. They’re determined to break the Bollywood formula that many local films mimic, they say, encouraging other young directors to “think out of the box.”

The company appears to be currently driven by pure determination – both men take on different roles and use simple equipment. Working with new faces, they keep costs low. Still, ‘Chase’ and ‘Last Train to Kandy’ have yet to be screened, but both Udana and Ray are hoping that that will change soon.
Udana has dabbled in acting himself. In 2005, he was cast in a leading role in the ‘The Corrupted,’ a 15 minute short film revolving around the drug world in Colombo, Sri Lanka. Previously he wrote/directed and produced another short film about a child in the aftermath of the tsunami, titled ‘Hope.’

Professionally, having been for most part in advertising, Udana has also studied Post Production and Visual FX. Ray has been in the field a little longer and says he’s served as an editor, cinematographer and visual effects artist since 2002. After graduating from South Seas Film & Television School and University of Auckland, Ray worked as an animator/visual effects artist (later head of post production) for Med TV in New Zealand. He says that he even had the chance to work for a brief while on Star Wars: The Clone Wars at Lucas Animation in Singapore.

That brush with big Hollywood seems to have whetted their appetites and both say they would like to take Sri Lankan filmmaking to Hollywood in the future. In the meantime, they’re focused on their next production. A sci-fi thriller written and directed by Ray titled ‘Re-Entry’ is slated for this year. The movie is meant to be a sequel to a movie that Ray is a big fan of – ‘Monsters,’ was written and directed by Gareth Edwards. The original story began when a NASA probe crash lands in Mexico. In his film, Ray wants to zoom in on Sri Lanka and see how we’re dealing with the aliens.

Having collaborated closely on several projects, Ray and Udana are likely to make this one work as well. They say their partnership is based on the fact that they’re so different yet respect each other enough to find middle ground.

Article from sundaymirror.lk

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