Lamakaan

An evening of Christmas Carols and Hymns. Totally appropriate for the festive season.
Come and Join us as we celebrate the season of Hope and Blessinsgs.
Join us with your loved ones.

So, as the winter evenings in December unfold at Lamakaan, audiences will journey through Takita’s cinematic universe—where humor, history, and humanity converge. Each Wednesday promises not just a film screening, but an immersion into the delicate art of storytelling that made Yōjirō Takita a legend.

About the Director: Yōjirō Takita, born on December 4, 1955. Known worldwide for his Academy Award-winning masterpiece Departures (2008), Takita’s journey from comic pink films to historical epics and deeply human dramas reflects a rare versatility. His works resonate because they transform intimate Japanese traditions into universal stories, inviting audiences to reflect on life, death, and the quiet dignity of human connection. Takita’s style is marked by emotional subtlety and cultural depth, weaving humor, ritual, and tenderness into cinematic experiences that linger long after the screen fades. His impact lies in bridging tradition with modern storytelling, proving that local narratives can achieve global acclaim.

Film Title: THE LAST RECIPE | 2017 | 126 Mins | Japan | Japanese Language with English Subtitles

About the film: The film follows Mitsuru Sasaki, a once world-class chef gifted with the rare ability to recreate any dish after tasting it just once. Having lost his passion and driven into bankruptcy by his pursuit of perfection, he begins offering “last meals” to wealthy clients at exorbitant prices. His life takes a dramatic turn when he is tasked with uncovering a legendary recipe created in 1930s Manchuria by Naotaro Yamagata, a chef whose culinary genius was entwined with Japan’s turbulent history. As Sasaki retraces the recipe’s journey across time and continents, he confronts themes of memory, legacy, and the soul of cooking itself. Blending food, mystery, and historical drama, The Last Recipe serves up a story where cuisine becomes a bridge between generations and a vessel of human connection.

Screening followed by Discussion. All are Welcome. Entry is free and open to all!

Event Title: Sisters Connect Club – 1st Anniversary Celebration

Event Description:
Sisters Connect Club is organizing its 1st Anniversary Celebration, bringing together women from our community for an evening of networking, activities, and a curated open mic. The event will include:

• Open Mic Segment:
A limited-slot, pre-registered activity where selected participants will present poetry, stories, or small talks. This segment will be curated to maintain flow and timing.

• Women-Led Stalls:
Small business owners from the community will set up paid stalls to showcase and sell their products. Visitors can purchase items or café food and beverages directly from the vendors/café.

• Networking & Community Interaction:
The event will serve as a platform for women to connect, exchange ideas, and engage in collaborative conversations.

Entry:
Free attendance for all women.
Open mic registrations and stall setups will be chargeable internally.

Expected Footfall:
Approximately 70–100 women attendees.

Purpose of the Event:
To celebrate one year of building a women’s community, encourage local women-led businesses, and provide a structured platform for creative and professional expression.

The program will be organized and supervised by the Sisters Connect Club team to ensure smooth flow and responsible management of the venue space.

"Taalsen," is a dynamic vocal workshop held by Vandana Susheel, designed especially for beginners looking to explore the world of music with a registration fee of just ₹500!

Vandana Susheel is an 20-year-old passionate singer-songwriter, who has been exposed to the world of music since the age of 5. She has done her training for hindustani classical music from the esteemed “Shankar Mahadevan Academy” and also gained certifications for music composition courses from AR Rahman’s “KM Music Conservatory.” She has sung songs for 2 films, and her original song“Yaadon Ke Guldaste” is out on all major streaming platforms

Explore the fundamentals of notes, melodies and rhythms with “Taalsen” on the 27th of December 3PM to 6 PM! Whether you're a complete novice or looking to refine your skills, this workshop promises an enriching journey into the world of vocal music.

Registration Link: https://docs.google.com/forms/d/e/1FAIpQLSc7BeQWSF6l-sMH3K8-LIKtXkqXen0EqdJ-2dRkXCkqU13UtQ/viewform?usp=preview

A man named Holo is stopped, questioned, and watched — but no one, not even he, knows what his crime is. From a rolling bottle to bureaucratic interrogation, from fragmented memories to doubles who speak in riddles, Olo ka kya unfolds as an absurdist investigation into guilt, identity, and the invisible machinery of power.

Through shifting conversations with constables, a shadowy figure named Olo, and an ever-present sense of surveillance, the play stages a world where logic breaks down and language circles back on itself. What begins as a comic misunderstanding spirals into a surreal trial of existence itself.

Blending dark humour, psychological realism, and the theatre of the absurd, Olo ka kya holds a mirror to societies where individuals are trapped between authority and their own fractured selves.

What you get to learn
This is a 400-year-old Cheriyal doll/mask making workshop from the artisans of Cheriyal village. Guided session on sanding of coconut shell and using tamarind seed and saw dust paste for making traditional cheriyal mask. The coloring part need to be done after the mask is dried (the next day) so the participants will be given 2 dolls each (as shown in the pictures on the left). one doll will be made by the participant at the workshop and the other doll will be the one made on the previous day by the artist for the participant to colour.

Undying is a shortfilm made entirely by a college filmmaking team and stands as the biggest shortfilm at a college level. It is a one of its kind shortfilm that introduces a fresh and unique take on the zombie-apocalypse genre — blending intense suspense, emotional storytelling, and large-scale execution rarely seen in student productions.Shot entirely on an iPhone, UNDYING showcases how creativity and vision can outshine equipment and resources and the output is achieved by pure teamwork and dedication. Created and Directed by Sriharsha Nihanth, an aspiring filmmaker and a fellow student and the head of the college filmmaking club.
The plot is about a zombie outbreak in a college campus and an intense ride filled with stakes, suspense, twists and turns and adventure with light comedic quirks in between. There are no elements of Vulgarity or even bad language whatsoever in the film. it is a fresh take in student filmmaking and a dream that was executed with extreme efforts

Set in the 1960s–70s, Tamrapatra follows the story of a poverty-stricken family, where the elderly man who, in desperation, pretends to be a freedom fighter to access the government pension granted to real patriots. Through his act of deception, the play raises a haunting question: What does freedom truly mean to the poor? Has anything really changed for them since the British left — or have new rulers simply replaced the old?

Set in the 1960s–70s, Tamrapatra follows the story of a poverty-stricken family, where the elderly man who, in desperation, pretends to be a freedom fighter to access the government pension granted to real patriots. Through his act of deception, the play raises a haunting question: What does freedom truly mean to the poor? Has anything really changed for them since the British left — or have new rulers simply replaced the old?

Perhaps Zora Neale Hurston's quote "Research is formalized curiosity. It is poking and prying with a purpose," prompted the Late Jayant Pawar, a renowned Marathi playwright and critic, to meet a Crematorium keeper in the Municipal Crematorium, Worli, Mumbai, to explore the intricacies of life – and the dead - there.
Adapted as a play by Sutradhar, Hyderabad from the not so publicized 1993 interview of the late Jayant Pawar with a Worli Municipal Crematorium keeper, it offers a no-holds barred peep into the lives of those who do not merely witness mortality, but inhabit its geography—physically, emotionally, and psychologically. Hour after hour, day after day.
The interview termed as ‘mulaakhat’ and published in Marathi as PASSWALA has been translated by Vrushali Singh Bayas and devised and directed by Vinay Varma.
At the heart of the story is the crematorium keeper, K.G. Mohite, a man who’s seen thousands of bodies reduced to bone and ash, and yet wakes each morning to write a pass for another dead, have another pyre lit, and carry on with life. He’s someone who has long ceased to react, but has never ceased to observe. His presence is marked by endurance and not by emotion. His stoicism stems from a philosophy refined through years of disciplined proximity to the temporal world. He does not sentimentalize the dead, nor does he recoil from them. His silence is precise, deliberate, and functional. Surrounded by fire, grief, bureaucracy, human faeces and forgotten bodies, the keeper operates with an unflinching sense of duty. He neither resists nor embraces his environment—he inhabits it fully, as one might inhabit a vow.
Life continues for those who have made the crematorium their home. People go to work, carry their daily chores, dance and sing, argue, fall in love, and stay normal—while surrounded by death.
The story explores hard, often uncomfortable questions:
Is there a sensitive soul behind the calm and detached demeanour of the crematorium keeper?
How human rituals of joy—marriage, childbirth, and other celebrations—retain their vitality in a space designed for endings?
Are unclaimed bodies really cremated imperviously?
How does one preserve dignity and belief when surrounded by decay, stench and silence?
What mechanisms, rational or superstitious, do people devise to hold off the ‘imagined’ ghosts of the dead?
How is a burial spot identified so as to not disturb the already buried?
But underneath it all, Passwala isn’t just about death. It’s about what refuses to die: hope, absurdity, guilt, and the absurd persistence of laughter even when it shouldn't exist. Told with honesty and restraint, Passwala doesn't rely on spectacle or sentimentality. Instead, it quietly observes the rhythms of daily life in a place most people avoid. It is a story of survival, dignity, and human resilience. Of people who don’t choose to be near death, but find ways to live fully in its presence.
Come, watch how the custodians of death negotiate the fragile machinery of the living. Listen to the Philosophy of life – and death – explored through pauses, muted dialogues, resilience and routine gestures of a marginalized professional.
Although the setting of the play is Mumbai, the theme of life and death resonates across the universe. This play is particularly an eye opener for those who never visit a crematorium, for various reasons including fear!

Performing Classical Dance (Bharatnatyam)

An evening of Christmas Carols and Hymns. Totally appropriate for the festive season.
Come and Join us as we celebrate the season of Hope and Blessinsgs.
Join us with your loved ones.

So, as the winter evenings in December unfold at Lamakaan, audiences will journey through Takita’s cinematic universe—where humor, history, and humanity converge. Each Wednesday promises not just a film screening, but an immersion into the delicate art of storytelling that made Yōjirō Takita a legend.

About the Director: Yōjirō Takita, born on December 4, 1955. Known worldwide for his Academy Award-winning masterpiece Departures (2008), Takita’s journey from comic pink films to historical epics and deeply human dramas reflects a rare versatility. His works resonate because they transform intimate Japanese traditions into universal stories, inviting audiences to reflect on life, death, and the quiet dignity of human connection. Takita’s style is marked by emotional subtlety and cultural depth, weaving humor, ritual, and tenderness into cinematic experiences that linger long after the screen fades. His impact lies in bridging tradition with modern storytelling, proving that local narratives can achieve global acclaim.

Film Title: THE LAST RECIPE | 2017 | 126 Mins | Japan | Japanese Language with English Subtitles

About the film: The film follows Mitsuru Sasaki, a once world-class chef gifted with the rare ability to recreate any dish after tasting it just once. Having lost his passion and driven into bankruptcy by his pursuit of perfection, he begins offering “last meals” to wealthy clients at exorbitant prices. His life takes a dramatic turn when he is tasked with uncovering a legendary recipe created in 1930s Manchuria by Naotaro Yamagata, a chef whose culinary genius was entwined with Japan’s turbulent history. As Sasaki retraces the recipe’s journey across time and continents, he confronts themes of memory, legacy, and the soul of cooking itself. Blending food, mystery, and historical drama, The Last Recipe serves up a story where cuisine becomes a bridge between generations and a vessel of human connection.

Screening followed by Discussion. All are Welcome. Entry is free and open to all!

Event Title: Sisters Connect Club – 1st Anniversary Celebration

Event Description:
Sisters Connect Club is organizing its 1st Anniversary Celebration, bringing together women from our community for an evening of networking, activities, and a curated open mic. The event will include:

• Open Mic Segment:
A limited-slot, pre-registered activity where selected participants will present poetry, stories, or small talks. This segment will be curated to maintain flow and timing.

• Women-Led Stalls:
Small business owners from the community will set up paid stalls to showcase and sell their products. Visitors can purchase items or café food and beverages directly from the vendors/café.

• Networking & Community Interaction:
The event will serve as a platform for women to connect, exchange ideas, and engage in collaborative conversations.

Entry:
Free attendance for all women.
Open mic registrations and stall setups will be chargeable internally.

Expected Footfall:
Approximately 70–100 women attendees.

Purpose of the Event:
To celebrate one year of building a women’s community, encourage local women-led businesses, and provide a structured platform for creative and professional expression.

The program will be organized and supervised by the Sisters Connect Club team to ensure smooth flow and responsible management of the venue space.

"Taalsen," is a dynamic vocal workshop held by Vandana Susheel, designed especially for beginners looking to explore the world of music with a registration fee of just ₹500!

Vandana Susheel is an 20-year-old passionate singer-songwriter, who has been exposed to the world of music since the age of 5. She has done her training for hindustani classical music from the esteemed “Shankar Mahadevan Academy” and also gained certifications for music composition courses from AR Rahman’s “KM Music Conservatory.” She has sung songs for 2 films, and her original song“Yaadon Ke Guldaste” is out on all major streaming platforms

Explore the fundamentals of notes, melodies and rhythms with “Taalsen” on the 27th of December 3PM to 6 PM! Whether you're a complete novice or looking to refine your skills, this workshop promises an enriching journey into the world of vocal music.

Registration Link: https://docs.google.com/forms/d/e/1FAIpQLSc7BeQWSF6l-sMH3K8-LIKtXkqXen0EqdJ-2dRkXCkqU13UtQ/viewform?usp=preview

A man named Holo is stopped, questioned, and watched — but no one, not even he, knows what his crime is. From a rolling bottle to bureaucratic interrogation, from fragmented memories to doubles who speak in riddles, Olo ka kya unfolds as an absurdist investigation into guilt, identity, and the invisible machinery of power.

Through shifting conversations with constables, a shadowy figure named Olo, and an ever-present sense of surveillance, the play stages a world where logic breaks down and language circles back on itself. What begins as a comic misunderstanding spirals into a surreal trial of existence itself.

Blending dark humour, psychological realism, and the theatre of the absurd, Olo ka kya holds a mirror to societies where individuals are trapped between authority and their own fractured selves.

What you get to learn
This is a 400-year-old Cheriyal doll/mask making workshop from the artisans of Cheriyal village. Guided session on sanding of coconut shell and using tamarind seed and saw dust paste for making traditional cheriyal mask. The coloring part need to be done after the mask is dried (the next day) so the participants will be given 2 dolls each (as shown in the pictures on the left). one doll will be made by the participant at the workshop and the other doll will be the one made on the previous day by the artist for the participant to colour.

Undying is a shortfilm made entirely by a college filmmaking team and stands as the biggest shortfilm at a college level. It is a one of its kind shortfilm that introduces a fresh and unique take on the zombie-apocalypse genre — blending intense suspense, emotional storytelling, and large-scale execution rarely seen in student productions.Shot entirely on an iPhone, UNDYING showcases how creativity and vision can outshine equipment and resources and the output is achieved by pure teamwork and dedication. Created and Directed by Sriharsha Nihanth, an aspiring filmmaker and a fellow student and the head of the college filmmaking club.
The plot is about a zombie outbreak in a college campus and an intense ride filled with stakes, suspense, twists and turns and adventure with light comedic quirks in between. There are no elements of Vulgarity or even bad language whatsoever in the film. it is a fresh take in student filmmaking and a dream that was executed with extreme efforts

Set in the 1960s–70s, Tamrapatra follows the story of a poverty-stricken family, where the elderly man who, in desperation, pretends to be a freedom fighter to access the government pension granted to real patriots. Through his act of deception, the play raises a haunting question: What does freedom truly mean to the poor? Has anything really changed for them since the British left — or have new rulers simply replaced the old?

Set in the 1960s–70s, Tamrapatra follows the story of a poverty-stricken family, where the elderly man who, in desperation, pretends to be a freedom fighter to access the government pension granted to real patriots. Through his act of deception, the play raises a haunting question: What does freedom truly mean to the poor? Has anything really changed for them since the British left — or have new rulers simply replaced the old?

Perhaps Zora Neale Hurston's quote "Research is formalized curiosity. It is poking and prying with a purpose," prompted the Late Jayant Pawar, a renowned Marathi playwright and critic, to meet a Crematorium keeper in the Municipal Crematorium, Worli, Mumbai, to explore the intricacies of life – and the dead - there.
Adapted as a play by Sutradhar, Hyderabad from the not so publicized 1993 interview of the late Jayant Pawar with a Worli Municipal Crematorium keeper, it offers a no-holds barred peep into the lives of those who do not merely witness mortality, but inhabit its geography—physically, emotionally, and psychologically. Hour after hour, day after day.
The interview termed as ‘mulaakhat’ and published in Marathi as PASSWALA has been translated by Vrushali Singh Bayas and devised and directed by Vinay Varma.
At the heart of the story is the crematorium keeper, K.G. Mohite, a man who’s seen thousands of bodies reduced to bone and ash, and yet wakes each morning to write a pass for another dead, have another pyre lit, and carry on with life. He’s someone who has long ceased to react, but has never ceased to observe. His presence is marked by endurance and not by emotion. His stoicism stems from a philosophy refined through years of disciplined proximity to the temporal world. He does not sentimentalize the dead, nor does he recoil from them. His silence is precise, deliberate, and functional. Surrounded by fire, grief, bureaucracy, human faeces and forgotten bodies, the keeper operates with an unflinching sense of duty. He neither resists nor embraces his environment—he inhabits it fully, as one might inhabit a vow.
Life continues for those who have made the crematorium their home. People go to work, carry their daily chores, dance and sing, argue, fall in love, and stay normal—while surrounded by death.
The story explores hard, often uncomfortable questions:
Is there a sensitive soul behind the calm and detached demeanour of the crematorium keeper?
How human rituals of joy—marriage, childbirth, and other celebrations—retain their vitality in a space designed for endings?
Are unclaimed bodies really cremated imperviously?
How does one preserve dignity and belief when surrounded by decay, stench and silence?
What mechanisms, rational or superstitious, do people devise to hold off the ‘imagined’ ghosts of the dead?
How is a burial spot identified so as to not disturb the already buried?
But underneath it all, Passwala isn’t just about death. It’s about what refuses to die: hope, absurdity, guilt, and the absurd persistence of laughter even when it shouldn't exist. Told with honesty and restraint, Passwala doesn't rely on spectacle or sentimentality. Instead, it quietly observes the rhythms of daily life in a place most people avoid. It is a story of survival, dignity, and human resilience. Of people who don’t choose to be near death, but find ways to live fully in its presence.
Come, watch how the custodians of death negotiate the fragile machinery of the living. Listen to the Philosophy of life – and death – explored through pauses, muted dialogues, resilience and routine gestures of a marginalized professional.
Although the setting of the play is Mumbai, the theme of life and death resonates across the universe. This play is particularly an eye opener for those who never visit a crematorium, for various reasons including fear!