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連奪
威尼斯影展金獅獎、英國獨立電影節最佳外語片
多倫多、澳洲、印度 3 大電影節最受觀眾歡迎大獎

十二月十一日

故事簡介

故事由籌備一場盛大的婚禮而緩緩展開。住在新德里的一個旁遮普省大家族的成員們，為了一場婚禮而齊聚一堂的同時，愛與衝突都迸發了出來，真實的告白在邁向婚禮神聖殿堂的途中，一一顯露。

在浪漫的雨季迫近新德里之時，拉利（拿斯魯甸山飾）正在為他美麗的女兒雅迪蒂（華辛夏娃達絲飾）籌備婚禮，阿蒂被安排與來自休士頓的印度工程師希民結婚；可是他並不知道，即將要結婚的阿蒂還和一個有婦之夫來往。拉利和他的妻子璧媚（莉妮杜比飾）經歷了數十年的傳統婚姻，在為女兒即將離開家作準備之時，他們自己也在兩人共同的記憶中，互相尋求彼此的慰藉。

目睹新娘困境的未婚表姐詠雅（舒花莉舒蒂飾），此時向家人表明了她的計劃，她不但勇於挑戰傳統，還揭露了一個深藏在她內心多年的秘密。另一位表妹雅莉欣則大膽挑逗在雪梨唸大學的華浩。

同時，負責搭建婚禮場地的杜比（維積華薩飾）也毫無防備地順著真愛的牽引，與維馬家的傭人愛麗絲（泰露塔瑪素美飾）墜入愛河。

就在新郎即將從美國飛抵印度之時，新娘卻害怕起來，眼看一場大雨就要降下 … …

揚威海外

《偷歡嫁期》以輕鬆調子奏出、不分年齡的愛情故事、恒久不變的家族情誼，趣味盎然，無怪乎揚威海外市場，連奪威尼斯影展金獅獎、英國獨立電影節最佳外語片、多倫多、澳洲、印度 3 大電影節最受觀眾歡迎大獎，以及獲提名角逐美國金球獎最佳外語片及英國電影電視藝術學院最佳非英語電影等。

障礙重重
拍攝《偷歡嫁期》期間遇到障礙重重，第一天開機第一副導演便由哥爾夫球車上摔下，跌斷了腳，加上員工長期於超過攝氏四十度的高溫下工作，為了舒緩天氣及工作帶來的緊張，攝製組特別安排瑜伽課，讓大家每天都抽時間伸展筋骨平衡情緒。近煞科部份菲林竟被 X 光破壞，要重新補拍，拖延了拍攝進度兼超出預算。幸而所有困難最終都能一一迎刃而解。

親友助陣
體現印度家族上下一心的傳統兼節省成本，導演美拉娜兒動員全家協助拍攝《偷歡嫁期》－她的母親每日皆向全組人員提供膳食；戲中大部份場地、油畫、傢俬、首飾等都是美拉向親戚朋友借來；親友們更有份參與拍攝工作，甚至連飾演拉利維馬的兒子都是美拉的外甥。

幕後功臣

印度新銳導演美拉娜兒
生於一九五七年的導演美拉娜兒，大學畢業後曾活躍於演藝界，主演多部電影及電視劇集。一九七六年赴美國哈佛大學攻讀社會學，畢業後積極參與電影製作，並擔任導演，所拍的作品包括康城影展得獎作品《街童》及 1998 年獲得獨立精神獎最佳攝影獎的《萬誘寶鑑》及《他們的 911 》。

印度影帝拿斯魯甸山飾演拉利
畢業於印度國家戲劇學院的拿斯魯甸山是現今印度著名的實力派演員，曾參演超過 125 套印度及國際電影，四度獲得印度 FilmFare Award 的最佳男主角獎及於 1980 及 1985 年獲印度國家獎最佳男主角獎。他更衝出印度，憑《 Paar 》首次揚威海外，於 1995 年獲威尼斯影展頒發最佳男主角。由於成績卓越，拿斯魯甸山獲印度政府頒發 Padma Shri 最高榮譽藝術獎項。

舒花莉舒蒂飾演詠雅
舒花莉舒蒂在印度影壇享負盛名，憑著電影《 Satya 》於 1998 年獲得印度電影獎及 FilmFare Award 的最佳女主角。《偷歡嫁期》是她首部參與的國際電影。

莉妮杜比飾演璧媚
莉妮杜比在印度是著名的舞台劇演員及導演，其舞台劇公司曾三次獲得 Sahitya Kala Parishad 最佳舞台劇獎。莉妮杜比並參與演出電影及電視界，名氣十足。

MONSOON WEDDING 偷歡嫁期卡士表

USA FILMS 發行

IFC PRODUCTIONS/KEY FILMS/PANDORA FILMS/PARADIS FILMS 呈獻

MIRABAIFILMS 製作

美拉娜兒作品

" 偷歡嫁期 "

主演 : < 奇幻兵團 LXG> 拿斯魯甸山　莉妮杜比　舒花莉舒蒂
維積華薩　泰露塔瑪素美　華辛夏娃達絲　古曉山甘賓達

音樂 : < 自製多情 > 米查爾丹拿

服裝 : 雅尊巴辛

美術 : < 他們的 9.11>< 色慾都市 > 史提芬妮嘉露

剪接 : < 他們的 9.11> 艾利辛莊遜

攝影 : < 他們的 9.11> 迪肯昆

執行監製 : < 殺人習作 > 尊拿芬斯寧　嘉露蓮嘉萍

監製 : < 不知不覺愛上你 > 嘉露蓮芭樂　美拉娜兒

編劇 : < 他們的 9.11> 莎賓娜丹華

導演 : < 萬誘寶鑑 >< 街童 > 美拉娜兒

MONSOON WEDDING

A Film By Mira Nair

Production Notes

Release Date: December 11, 2003

International Press Contact:
Beth Binnard
Good Machine International
417 Canal Street, 4th Floor
New York, NY 10013
212.343.9230 ext.264
212.343.7412 fax

MONSOON WEDDING - Short Synopsis

An exuberant family drama set in Mira Nair's beloved Punjabi culture, where djinns and dot-coms live together in perfect harmony

As the romantic monsoon rains loom, the extended Verma family reunites from around the globe for a last-minute arranged marriage in New Delhi. MONSOON WEDDING traces five intersecting stories, navigating different aspects of love and crossing boundaries of class, continent and morality. It celebrates a contemporary India never before seen on screen.

In this hilarious and provocative drama, Mira Nair interweaves the ancient and the modern, the old-fashioned and the irreverent, the innocent and the sexual in today's Delhi. The intimate, handheld camera welcomes the viewer into the characters' lives and into Nair's own beloved Punjabi culture - robust, earthy and full of life. The audience is swept into the bacchanalian revelry of kebabs, whisky and Bollywood music that is a Punjabi wedding.

The family's delights, worries and long-guarded secrets emerge amid frantic wedding preparations, and are juxtaposed with arresting montages of real-life Delhi. The relentless summer heat mirrors the story's building intensity as the family and the city anticipate the cooling torrent of the monsoons. And when the rain comes, the cathartic downpour brings romance, revelation and liberation.

MONSOON WEDDING - Long Synopsis

An exuberant family drama set in Mira Nair's beloved Punjabi culture, where ancient tradition and dot-com modernity combine in unique and perfect harmony

As the romantic monsoon rains loom, the extended Verma family reunites from around the globe for a last-minute arranged marriage in New Delhi. MONSOON WEDDING traces five intersecting stories, each navigating different aspects of love as they cross boundaries of class, continent and morality. The film celebrates a contemporary India never before seen on screen.

Mira Nair and the writer, Sabrina Dhawan, interweave the ancient and the modern, the old-fashioned and the irreverent, the innocent and the sexual in today's globalized Delhi. The intimate, handheld camera welcomes the viewer into the characters' lives and into Nair's own beloved Punjabi culture - robust, earthy and full of life. The audience is swept into the bacchanalian revelry of kebabs, whisky and Bollywood music that is a Punjabi wedding.

The family's hopes, anxieties and long-guarded secrets emerge amid frantic wedding preparations, and are juxtaposed with arresting montages of real-life Delhi. The relentless summer heat mirrors the story's building intensity as the city anticipates the cooling torrent of the monsoons. And when the rain comes, the cathartic downpour brings romance, revelation and liberation.

The father of the bride, LALIT VERMA (50), and his wife PIMMI (45), have endured the ups and downs of a fairly traditional marriage for years. As their daughter prepares to marry and leave home, they reach out to each other once again, finding deep comfort in the history they have shared.

The bride, ADITI (24), on the rebound from an aborted love affair with her former boss, VIKRAM (42), agrees to marry HEMANT (32), an engineer from Houston. Suddenly apprehensive about becoming a housewife in Texas, Aditi re-visits her lover the day before the wedding, throwing her future into turmoil.

P.K. DUBEY (25) is the upwardly mobile Tent and Catering contractor for the elaborate wedding celebrations. A cellphone-wielding wheeler-dealer, he is a member of India's emerging urban middle class. Dubey's tough pragmatism is outdone by the innocence and virtue of the family's maid, ALICE (20). He accidentally spies on Alice as she secretly dresses in the ornaments of her mistress and finds himself falling hopelessly in love with her. Theirs is the only pure and completely unexpected love story in the film, echoed by their bizarre shared habit of eating the core of marigolds - the Indian wedding flower.

RIA (28) is the unmarried writer cousin of the bride. As she watches Aditi plunge recklessly into marriage, Ria begins to assert herself to her family, defying convention and revealing a disturbing secret she has suppressed for years.

In a story of steamy unconsummated teenage lust, AYESHA (17), another cousin of the bride, is a sexy Delhi 'babe' who meets RAHUL (19), a sophomore at the University of Sydney returning to India after five years. Surprised by Ayesha's boldness, Rahul becomes infatuated with this brazen young Indian woman who challenges all his assumptions about contemporary Indian culture.

This film is a love song to the city of Delhi and a portrait of modern, cosmopolitan India. Two-thirds of MONSOON WEDDING was shot in an affluent farm-house on the city's outskirts, the rest in locations in both the old and new cities: the exteriors of old Mughal Delhi and the gaudy charm of the wedding sari-shops of Karol Bagh juxtaposed with the chic ateliers of the city's established designer culture and its posh corporate world. The filmmakers use the mobility and economy of a hand-held camera, capturing subtle, expressive performances from a huge ensemble cast.

The cast is made up of acclaimed Indian movie stars, highly trained theatre actors from The National School of Drama, and lesser known television actors and first-timers. The principal cast includes Naseeruddin Shah, Shefali Shetty, Vijay Raaz, Roshan Seth, Lillete Dubey, Vasundhara Das, Kulbhushan Kharbanda, Rajat Kapoor and Tilotama Shome.

The film is filled with music, including ghazals (traditional love songs), modern Indian pop, jazz and bhangra (Punjabi folk/pop) music, all of which help to capture the varied and joyful sounds of a Punjabi wedding. The music and dance of old and new-style Bollywood is a constant presence in Indian life. MONSOON WEDDING echoes this Bollywood spirit with its vibrant score and with Ayesha's climactic dance number the night before the wedding.

MONSOON WEDDING is a celebration of the sensual pleasures of cinema, of love at any age-anytime, and of the importance of family. It also pays affectionate tribute to a city where weighty tradition collides daily with global culture and the dot-com age, yielding an unusual and melodious harmony.

MONSOON WEDDING is directed by OscarR-nominated filmmaker Mira Nair (SALAAM BOMBAY!, MISSISSIPPI MASALA, MY OWN COUNTRY, KAMA SUTRA) and written by first-time screenwriter Sabrina Dhawan, who recently graduated from Columbia University's graduate film program. It is produced by Caroline Baron, who co-produced KAMA SUTRA as well as Joel Schumacher's FLAWLESS and Nicholas Hytner's CENTER STAGE. The cinematographer is the internationally acclaimed Declan Quinn (LEAVING LAS VEGAS, KAMA SUTRA, VANYA ON 42nd STREET and ONE TRUE THING). Mychael Danna, the award-winning composer of Atom Egoyan's films, Nair's KAMA SUTRA and Ang Lee's THE ICE STORM, scored the film, collaborating on an original song with one of India's leading pop musicians, Sukhwinder Singh.

MONSOON WEDDING - Director's Statement

MONSOON WEDDING is a story of a Punjabi family in contemporary India and a love song to the city of Delhi, my home. The Punjabi personality is known in India for partying hard, working even harder, and having a huge appetite for life. Today, Delhi is a strange "globalized" world where tradition butts heads with modernity at every turn, Gucci and Prada exist side by side with power cuts and traffic jams, and the spoken language is colorful and inventive, crisscrossing easily between English, Hindi and Punjabi. This film was conceived in a spirit of lightness and discovery n the idea was to keep it lean and fluid, to shoot an interesting, layered story in thirty days without spending millions, and to work with a combination of legendary actors, complete unknowns and members of my own family. We wanted to capture a time in Indian society when we are proud of our own culture, free from colonial complexes. Bollywood music and films are an inextricable part of our daily life, and MONSOON WEDDING freely invokes Bollywood conventions, musically and visually. This is a Bollywood movie, made on my own terms. If the film captures the intoxicating zest for life of my people, then I will have done my work.

MONSOON WEDDING - About The Production

Shot in New Delhi in the summer of 2000, MONSOON WEDDING was conceived in New York City when Mira Nair and her former student, Sabrina Dhawan, set out to make a film about a Punjabi family in contemporary India. Having grown up in the same environment, the two women wanted to tell a real-life story of that world while capturing the emotion, ribaldry and love of music and dance so essential to Bollywood and to Punjabi culture. Nair, herself Punjabi, wanted to use a wedding, the most lavish and intense of family occasions, to depict "a community that is known for living life with the hugest appetite possible. We work hard, we party hard, we live life up." In every way, the film would embody the meeting of the old and the new - its story depicts tradition butting heads with modernity and globalization, and its production combined innovative and classical approaches, to make a film about today's India unlike any other. As Nair puts it, MONSOON WEDDING is "a Bollywood movie, made on my own terms."

Nair assembled a production team including many longtime collaborators who had gone with her to India for KAMA SUTRA in 1994, among them producer Caroline Baron, cinematographer Declan Quinn, production designer Stephanie Carroll, script supervisor Robyn Aronstam and costume designer Arjun Bhasin. This team of friends shot the film on a tight thirty-day schedule in New Delhi. The shoot's intimate spirit was strengthened by the participation of Nair's own family in every aspect, from the elaborate home cooking delivered to the set daily from Nair's mother's kitchen to the set design - locations, paintings, furniture, costumes and props were almost all loaned by family and friends. The wedding party scenes are peopled with friends from Delhi society, and Nair's nephew Ishaan plays a major role in the film (the bride's teenage brother Varun). As Nair says, the film "is very close to home. We relied on friendships and on our true knowledge of the world we were depicting, but we had to master our story and our method completely before we began shooting. It was a combination of deeply personal and deeply professional - and it made for an authenticity that's absolutely visible in the finished film."

Baron, co-producer on KAMA SUTRA, describes reuniting with Nair for this film as "completely inspiring. Mira welcomed all of us wholeheartedly into her extended family - appropriate for a film describing such rich and complex family relationships." What had caught Baron's eye about MONSOON WEDDING, the moment she was shown the treatment, was its originality: "It was clear to me that this was a film that hadn't been made before. Having seen India once with Mira, I was eager to do it again - and a story about ordinary, human relationships, that focused on universal, common truths, was really irresistible to me as a member of the Western audience." Carroll, also part of the KAMA SUTRA crew, connected equally strongly with the story, saying, "it's dramatic, it's funny, it covers the whole spectrum - but what I particularly like about it is that it shows the need for compassion."

From the first day of shooting obstacles arose: the first assistant director broke her foot falling off a golf cart, and the shoot continued with the producer filling in until a new A.D. was hired. Working six-day weeks in 110-degree heat - as one actor described it, "this heat which saps you to death" - often in crowded city streets or dusty roads on the outskirts of town, the cast and crew maintained their calm with daily yoga sessions. At the end of the shoot some scenes were damaged by x-ray, requiring a reshoot in Bombay several months later. The crew's spirit in the face of these minor disasters demonstrated how much MONSOON WEDDING was, in Nair's words, "a love movie."

Dhawan's finished script, which wove together five related story lines, called for a large and seamless ensemble of actors. Nair's long-held admiration for Naseeruddin Shah, whom she'd first seen in a stage production of Edward Albee's Zoo Story in Bombay when she was 17 years old, made him the obvious choice for the central role, the bride's loving, embattled father. Shah, respected by Indian audiences as one of the country's greatest actors who has broken the Bollywood mold, had long wished to collaborate with Nair. "She makes you feel safe," he said of his experience on MONSOON WEDDING, "she makes you feel she trusts you, so that you can commit a blunder without disgracing yourself - she always has time for a laugh or a joke. It's wonderful working with her."

Shefali Shetty, a young actress whose performance in "Satya" as a gangster's wife had left a strong impression on Nair, was cast in the equally important role of Ria, the bride's forward-thinking, intellectual and unmarried cousin. As the bride's frazzled mother Nair cast well-known theater actress Lillete Dubey; as the bride, Vasundhara Das, a rising pop singer, came aboard. The rest of the ensemble was cast in Delhi and Bombay. Shah, a classically-trained actor, took the lead with Nair in organizing an intense two-week rehearsal period for the cast. Each day they gathered for an hour of yoga and then improvised scenes to establish the complex network of connections between the film's different family members. The cast then spent a third week rehearsing in the house in which they would be shooting.

These weeks were built into the production schedule from the beginning, based on Nair's belief that "there is no way to do a movie like this - hand-held, naturalistic, returning to the essence of the actor - without a rigorous rehearsal period." The sessions were a thrilling learning experience for the younger actors, many of whom were working for the first time alongside their heroes. "Working with Naseer and Mira taught me I could perform with the best," said Parvin Dabas, who played the intended groom.

For Alice, the family maid, and P.K. Dubey, the wedding planner, Nair turned to near-unknowns Tilotama Shome and Vijay Raaz. Both actors give achingly honest performances in what is perhaps the film's most compelling subplot, the love affair between the tent-man and the family's maid. It was important to Nair to show "the co-existence of 'upstairs' and 'downstairs' in this society because, in India as in no other place, the haves and the have-nots live side by side." The emerging, unspoken love between Alice and Dubey has the soulful and restrained quality of the great love affairs of the silent film era. Both Shome and Raaz, whose gift for physical comedy is also showcased in MONSOON WEDDING, are playing their first major roles in an international film.

Declan Quinn, responsible for the memorable photography in LEAVING LAS VEGAS and VANYA ON 42ND STREET among many other films, shot on Super 16MM using a handheld camera. This mobility and economy drew subtle and realistic performances from the cast, setting the film apart completely from Bollywood-style films. At the same time, Bollywood conventions are affectionately invoked throughout the film, especially in a dance number performed to an irresistibly catchy Indian pop song. The soundtrack uses songs and remixes by many contemporary artists, as well as sentimental favorites from the early years of Indian cinema.

The crew worked in locations throughout Delhi, from the winding, teeming streets of the old city to sleek five-star hotels and office buildings to grand private houses in the city's affluent suburbs. Nair and Quinn, whom Nair describes as "a poet of light," took full advantage of the chance to capture the visual character of Delhi's many walks of life. "I get so excited about working on the Indian streets, because the life around me, the sparkle of the chaos is what really excites me," says Nair. "I want to use it and eat it up and show it on screen. Have every frame pulsating with life. And there's nothing more pulsating with life than an Indian street."

MONSOON WEDDING is a slice-of-life movie, one which takes several smaller stories to compose a picture of a complex society with many components. Nair's intention in making what she calls, "in a sense, an upper-class SALAAM BOMBAY" was to plunge the viewer into modern-day urban India, with all its humorous and wrenching contradictions. As she puts it, if MONSOON WEDDING can capture the masti - the singular, life-loving spirit - of Punjabi culture, "then I will have done my work."

MONSOON WEDDING - CAST BIOS

Naseeruddin Shah (LALIT)

A graduate of India's prestigious National School of Drama, Naseeruddin Shah is one of India's greatest actors. He has acted in over 125 Indian and international films. Mr. Shah has received four FilmFare awards (India's equivalent of the Oscar) for Best Actor and the Indian National award for Best Actor in 1980 and 1985. He was named Best Actor at the Venice Film Festival in 1985 for his performance in Gautam Ghose's "Paar.". He was also awarded the Padma Shri in 1987, the highest arts honor awarded by the Indian Government. Mr. Shah founded the Motley Theatre Company in Bombay, for which he has directed over fifty productions. He is currently touring internationally in Peter Brook's production of "Hamlet."

Vijay Raaz (P.K. DUBEY)

This is Vijay Raaz's first major role in an international film. Originally from Mathura, India, Mr. Raaz is a member of India's prestigious National School of Drama Repertory and recently moved to Bombay to begin his film career. He has also appeared in the Indian films "Jungle" and "Bhopal Express."

Lillete Dubey (PIMMI)

A respected stage actress and director, Lillete Dubey's theatre company has thrice received the Sahitya Kala Parishad Award for best play of the year. Well-known on Indian film and television, Ms. Dubey recently appeared in "Zubeidaa" directed by Shyam Benegal.

Shefali Shetty (RIA)

Shefali Shetty was highly acclaimed for her role in the Indian film "Satya," for which she received the Indian Screen Award and Filmfare Critics' Award (the Indian "Oscar") for Best Actress in 1998. MONSOON WEDDING is her first international film.

Tilotama Shome (ALICE)

Tilotama Shome is currently at Delhi University, where she is a student of Japanese folk music and Brechtian theatre. MONSOON WEDDING is Ms. Shome's first film.

Vasundhara Das (ADITI)

Vasundhara Das received great acclaim for her performance in Kamal Hasan's "Hey Ram." Ms. Das is a popular recording artist in India, currently on tour to promote her album, "Meri Jaan." MONSOON WEDDING is her second film.

Kulbhushan Kharbanda (C.L. CHADHA)

Kulbhushan Kharbanda, one of India's most famous character actors, was never formally trained in acting. He began his film career in 1975 with Shyam Benegal. Mr. Kharbanda has appeared in over 100 commercial and independent Indian films including Deepa Mehta's "Fire" and "Earth."

Roshan Seth (MOHAN RAI)

Roshan Seth is well known for his work in Richard Attenborough's "Gandhi," "Indiana Jones and the Temple of Doom," Hanif Kureishi's "My Beautiful Laundrette," Mira Nair's "Mississippi Masala," and over 30 other international films.

Parvin Dabas (HEMANT)

A graduate of The American Academy of Dramatic Arts and H.B.Studios in New York, Mr. Dabas has acted on stage in both Off-Broadway and Indian productions. MONSOON WEDDING is his fourth film appearance, and he is currently hosting a film critique show on satellite television.

Soni Razdan (SAROJ RAI)

Soni Razdan appeared in Rohington Mistry's "Such a Long Journey," Franco Zefirelli's "Jesus of Nazareth" and the BBC's "Padosi." She has acted in over twenty Indian films, including Mahesh Bhatt's "Saraansh," Shyam Benegal's "Mandi," and Aparna Sen's "36 Chowringee Lane."

Neha Dubey (AYESHA)

Neha Dubey is trained in Indian classical dance and hosts a popular music countdown show. MONSOON WEDDING is her first film.

MONSOON WEDDING - CREW BIOS

Mira Nair (Director, Producer)

Mira Nair directed several award-winning documentaries before making her stunning feature debut, "Salaam Bombay!" "Salaam Bombay!" was nominated for an Academy Award for Best Foreign Language Film in 1988 and, in addition to 25 international awards, received the Camera D'Or (for best first feature) and the Prix du Publique (for most popular entry) at the Cannes Film Festival. Ms. Nair's subsequent films included "Mississippi Masala" (1991), "The Perez Family" (1995), and the art house hit "Kama Sutra: A Tale of Love" (1996). She also directed "My Own Country," about a young immigrant doctor dealing with the AIDS epidemic in the Deep South, for Showtime in 1998. In addition to MONSOON WEDDING, Ms. Nair recently completed the documentary "The Laughing Club of India," which was awarded the Special Jury Prize in the Festival International de Programmes Audiovisuels 2000 and will premiere in the United States on HBO. Ms. Nair is currently shooting "Hysterical Blindness," a feature for HBO starring Uma Thurman and Gena Rowlands. She was born in India and was educated at Delhi University and at Harvard.

Caroline Baron (Producer)

Caroline Baron recently co-produced "Center Stage," directed by Nicholas Hytner, and "Flawless," directed by Joel Schumacher. She also produced the miniseries "Witness to the Mob" for Tribeca Productions. Ms. Baron served as co-producer on Griffin Dunne's "Addicted to Love," starring Meg Ryan; "The Santa Clause," starring Tim Allen; and Mira Nair's "Kama Sutra." Baron's other co-producing credits include the feature films "Crossing the Bridge," "The Opposite Sex" and "Indian Summer." She is the founder and Executive Director of FilmAid International, an international relief organization that uses film to entertain and educate refugees around the world and is a project of the International Rescue Committee in association with the United Nations High Commissioner for Refugees.

Jonathan Sehring and Caroline Kaplan (Executive Producers)

Jonathan Sehring (President, IFC Entertainment) and Caroline Kaplan (Vice President, Film & Program Development, IFC Productions), InDigEnt partners and co-executive producers, have overseen award-winning television movies, series and original documentaries for IFC and Bravo Entertainment. IFC Productions has produced or co-produced over a dozen features including: Ed Burns' "Ash Wednesday," Michael Almereyda's "Happy Here and Now," Richard Linklater's "Waking Life," Maggie Greenwald's "Songcatcher," Jim McKay's "Our Song," Karyn Kusama's "Girlfight" (winner of the Director's Prize and the Grand Jury Prize at the Sundance Film Festival), Brad Anderson's "Happy Accidents," Tom Gilroy's "Spring Forward," Errol Morris' "Mr. Death," and Kimberly Peirce's Academy Award-winning "Boys Don't Cry." Independent Digital Entertainment (InDigEnt), the digital initiative created by IFC Productions, director Gary Winick ("The Tic Code") and John Sloss, has already completed its first five films - Campbell Scott's "Final," Ethan Hawke's "Chelsea Walls," Bruce Wagner's "Women in Film," Richard Linklater's "Tape" and Rodrigo Garcia's "Ten Tiny Love Stories."

Sabrina Dhawan (Writer)

Sabrina Dhawan grew up in New Delhi, India, and entered Columbia University's graduate film program in New York City in 1996. Ms. Dhawan's thesis short film, "Saanjh - As Night Falls" was recently nominated for the Student Academy Award (results to be announced in May 2001). "Saanjh" also received the New Line Cinema Award for 'Most Original Film' at the Polo Ralph Lauren New Works Festival 2000 and was cited as 'Best of the Festival' at the Palm Springs International Film Festival. MONSOON WEDDING is Ms. Dhawan's first feature film.

Declan Quinn (Cinematographer)

Declan Quinn's acclaimed work as cinematographer includes "Leaving Las Vegas" (dir. Mike Figgis), "28 Days" (Betty Thomas), "Flawless" (Joel Schumacher), "One True Thing" (Carl Franklin), "Vanya on 42nd Street" (Louis Malle), "Kama Sutra: A Tale of Love" (Mira Nair), "One Night Stand" (Figgis), and "The Ballad of Little Jo" (Maggie Greenwald), "Cousin Bobby" (Jonathan Demme) and "Freddy's Dead: The Final Nightmare" (Rachel Talalay). Mr. Quinn also photographed and executive produced "This Is My Father," directed by his brother Paul. Mr. Quinn received the Sundance Film Festival's Cinematography Award for "2 by 4," an independent film directed by Jimmy Smallhorne, and two Independent Spirit Awards for his work on "Leaving Las Vegas and "Kama Sutra."

Allyson C. Johnson (Editor)

Allyson C. Johnson edited Bob Giraldi's film "Dinner Rush" which premiered at MoMA's 2001 New Directors/New Films. She received an Emmy nomination for her editing of the documentary "The Who's Tommy: The Amazing Journey." Ms. Johnson was Associate Editor on Spike Lee's "Summer of Sam" and "He Got Game" and co-edited Public Enemy's music video for the film with Barry Alexander Brown.

Stephanie Carroll (Production Designer)

Before MONSOON WEDDING, Stephanie Carroll was the production designer on "Big Eden" in Montana (dir. Tom Bezucha) and "Living in Oblivion" (Tom DiCillo). She was set decorator on numerous films including "Dust" (Micho Manchevski), "Runaway Bride" (Garry Marshall), "Ride With The Devil" (Ang Lee), "The Ice Storm" (Lee), "Kama Sutra" and "The Perez Family" (Mira Nair), "Fresh" (Boaz Yakin), "Bad Lieutenant" (Abel Ferrara) and "Johnny Suede" (DiCillo).

Arjun Bhasin (Costume Designer)

Arjun Bhasin was Costume Designer on "Just A Kiss," (Fisher Stevens, dir.), "Broke Even" (David Feldman), "Loving Jezebel," (Kwyn Bader), and "Dil Chahta Hai" (Farhan Akhtar). He also acted as Costume Assistant on projects including Mira Nair's "Kama Sutra," Tribeca Films' television movie "Witness To The Mob," John Turturro's "Illuminata," and Matt Reeves' "The Pallbearer."

Mychael Danna (Composer)

Mychael Danna has been scoring films since his 1987 feature debut for Atom Egoyan's "Family Viewing." His work with Egoyan has continued through six features, including "Exotica," "The Sweet Hereafter" and "Felicia's Journey." His has scored films by many acclaimed directors, including Mira Nair's "Kama Sutra," Ang Lee's "The Ice Storm" and "Ride With The Devil," Joel Schumacher's "8mm" and James Mangold's "Girl, Interrupted." More recently, Mr. Danna composed the score for "Bounce," directed by Don Roos. He has been nominated for nine Canadian film awards.

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