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All of us just want to be accepted: Deepa Mehta   Tue, Feb 23 2021 09:24:46 AM By Sukant Deepak New Delhi, Feb 23 (IANS): "All of us are funny boys and girls, we all just want to be accepted, whether for our choices, sexuality, race or cultures. The film is finally a plea for tolerance," says Indo-Canadian filmmaker Deepa Mehta on her latest film 'Funny Boy', which centres on the coming of age of a young Tamil boy in Sri lanka who is coming to terms with his homosexuality against the backdrop of the increased tensions between Tamil and Sinhalese communities before the breakout of the Sri La...

Based on Sri-Lankan author Shyam Selvadurai book of the same name, for which she first approached the writer 20 years back, Mehta insists that though first published in 1994, the novel is politically relevant even now.

For Valentine's Day, six writers on love, sex, passion and desire — in life and literature In 2001, Eleanor Wachtel was joined by Ian McEwan, A.L. Kennedy, Clare Boylan, Rosemary Sullivan, Shyam Selvadurai and Esta Spalding to talk about romance and writing. Social Sharing Posted: Feb 12, 2016 5:24 PM ET | Last Updated: February 12 Clockwise from top left: Rosemary Sullivan, Esta Spalding, Ian McEwan, A.L. Kennedy, Shyam Selvadurai, Clare Boylan.(Susanna Gordon, Denise Estes Photography, Jeremy Sutton-Hibbert, Geraint Lewis, Kevin Kelly, Liz Robbins)

Funny that way Set against Sri Lanka’s 26-year civil war, ‘ Funny Boy’ holds messages for today Gregg Shapiro | Screen Savor Based on the acclaimed 1994 novel of the same name by gay writer Shyam Selvadurai (who co-wrote the screenplay), Funny Boy (Array) is directed by Deepa Mehta (who co-wrote the screenplay with Selvadurai). Mehta, who is straight, is no stranger to queer material, having written and directed the award-winning 1996 lesbian feature Fire. Set in Colombo, Sri Lanka, during the mid-1970s and early 1980s, especially turbulent years leading up to the beginning of the civil...

Lihaaf (The Quilt). Leila (2019). To tackle the question of why the choice of language creates a make or break situation in these adaptations, we are forced to return to the heavily explored but still relevant debate about the assumed audience of English language novels from South Asian countries, all of which are literally teeming with regional language literature. African literature scholar Eileen Julien wrote of the pressures on African writers to produce the “extroverted novel” that has “been asked to satisfy contradictory demands: to be “universal” but to display its “differe...