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D ebut films of several directors worldwide have often been unforgettable, even when compared to their later works:   Orson Welles’ Citizen Kane, Satyajit Ray’s Pather Panchali (Song of the Little Road), Ridley Scott’s The Duellists, Steven Spielberg’s Duel, Jean-Pierre Melville’s The Silence of the Sea, Mike Nichols’ Who’s Afraid of Virginia Woolf?, Claude Chabrol’s Handsome Serge, Bertrand Tavernier’s The Watchmaker of St Paul ...the list goes on.   That stamp of unmistakable awesome standards of filmmaking is apparent in Ash Mayfair’s debut feature film The Third Wife. Within minutes of the film’s opening credits an observant viewer gets a clue of the quality of the film that follows—intelligent use of visual editing in presenting the title of the film and the aesthetic and delicate balance between silence and music on the soundtrack. The Third Wife is an original tale written by the film’s director. It is set in the 19 th century Vietnam involving a rich nobleman liv...

I t is not easy to sit through any feature film that is nearly 4 hours long; more so if the characters in the film are dour, unexceptional, and behave like the dregs of society . An Elephant Sitting Still would challenge the average viewer to keep on watching the principal characters whose actions are abhorrent, whose views are negative, and whose reactions are slow. What keeps the fatigued viewer to persist in watching the long film is the unusual subject revealed in the initial few minutes of the film: an elephant that is sitting still in a city in China as part of a circus but eats the food offered to it. You keep watching the film trying to figure out the connection between the host of anti-heroes in the film and the elephant—which becomes clear only in the final sequence of the film. (The film is on show at the Denver Film Festival) Two school kids, Bu and Ling, meet at a monkey-feeding cage, where the monkeys keep a low profile An Elephant Sitting Still belongs to a wave of Chin...