Dragonet Films is an independent Sydney-based production company producing quality Scripted content for international screens, working with visionary creative minds. Their series, documentaries and feature films have won awards and nominations including Logies and Australian Academy Awards (AACTAs) for ABC’s Paper Giants: The Birth of Cleo; Writers Guild, Directors Guild and Screen Composers Guild Awards for Nine’s Two Twisted; festival acclaim for feature film Being Venice; and the ATOM Award for Best Documentary for ABC’s The Man Who Saved A Million Brains. Alongside the boutique Film and TV slate, Dragonet is committed to using all the emerging pathways to audience with a narrative VR project in development with Sydney Dance Company and the Australian Chamber Orchestra and production underway with Screen Australia, on a vertical scripted action/adventure The Disposables. Chandran, who broke out as Edwina Sharma in the second season of Shonda Rhimes smash Netflix regency drama and starred in Prime Video’s Alex Rider, will also associate produce the six-parter, which is based on Shankari Chandran’s novel and is being produced by The Cryindie Synchronicity Films and Australia’s Photoplay Films. Cineflix Rights has boarded as creative and financing partner, with first option on exclusive worldwide distribution.

Lichtheim, Miriam (2006). Ancient Egyptian Literature: Volume II: The New Kingdom (2nd Ref.ed.). University of California Press. p.99. ISBN 978-0520248434. Established in 2002, Cineflix Rights is based in London, and is part of the Cineflix Media group of companies . a book that doesn’t look away from the brutality of the Sri Lankan conflict – torture, forced displacements and disappearances, cultural destruction and worse – but it also balances horror with humour, and indeed love.’ – Sydney Morning Herald Donald B. Redford argued that while Akhenaten called himself the son of the Sun-Disc and acted as the chief mediator between god and creation, kings for thousands of years before Akhenaten's time had claimed the same relationship and priestly role. However Akhenaten's case may be different through the emphasis placed on the heavenly father and son relationship. Akhenaten described himself as "thy son who came forth from thy limbs", "thy child", "the eternal son that came forth from the Sun-Disc", and "thine only son that came forth from thy body". The close relationship between father and son is such that only the king truly knows the heart of "his father", and in return his father listens to his son's prayers. He is his father's image on earth and as Akhenaten is king on earth his father is king in heaven. As high priest, prophet, king and divine he claimed the central position in the new religious system. Since only he knew his father's mind and will, Akhenaten alone could interpret that will for all mankind with true teaching coming only from him. [23] Although history has a voice in this book, it is the characters and their lives that are centre stage. Well drawn, authentic characters you love, understand, sympathise with, rail against and forgive. They make good decisions, hard ones and bad ones. They are bound to each other by love, a religious duty and grief. Mostly by love.

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Shankari Chandran’s novel is a poignant, and deeply moving story of the Sri Lankan conflict seen through the prism of one family,” she added. “With its timely and universal themes, we feel the project will resonate with global audiences. We are excited that Charithra is both joining the cast and the producing team.” If this were a new religion, invented to satisfy our modern scientific conceptions, we could not find a flaw in the correctness of this view of the energy of the solar system. How much Akhenaten understood, we cannot say, but he certainly bounded forward in his views and symbolism to a position which we cannot logically improve upon at the present day. Not a rag of superstition or of falsity can be found clinging to this new worship evolved out of the old Aton of Heliopolis, the sole Lord of the universe. [17] Occasionally I find a book that makes me sob into my sofa pillows uncontrollably. For hours. I couldn't put this book down and I couldn't stop crying. No, that's not completely correct. I stopped crying from time to time to laugh at the humour and tenderness between the characters of this family. I wanted to adopt Nala's family. I wanted her to adopt me. It is everything I love about South Asian literature - beautiful prose, an exotic, troubled landscape, an impending and then roiling civil war, a migration, dislocation, search for identity, the search for home and loved ones.

The novel in its entirety, though, is quite readable. In Dhara’s latticed growth of a tree across her skin and the bond between the cousins is as poignant as the two sister-friends in Chitra Banerjee’s Sister of My Heart. The war-ravaged bodies and souls are reminiscent of so many powerful novels that advocate for peace. Claire Mundell, Managing Director and Creative Director of Synchronicity Films, said: “At Synchronicity we have a drive and passion for adapting powerful and important books for the screen. Song of the Sun God is one such book. Shankari Chandran’s novel is a poignant, and deeply moving story of the Sri Lankan conflict seen through the prism of one family. With its timely and universal themes, we feel the project will resonate with global audiences. We are excited that Charithra is both joining the cast and the producing team.”It can also be described as the Tamil version of Gunadasa Amarasekera's Sinhala Buddhist Middle Class saga. (Insert Tamil,Hindu in appropriate places) The Song of the Sun God follows Ceylon's shift to Sri Lanka, through the eyes of a young Tamil girl, and her family.

John Baines (1998). "The Dawn of the Amarna Age". In David O'Connor, Eric Cline (ed.). Amenhotep III: Perspectives on His Reign. University of Michigan Press. p.281. Shankari Chandran’s novel Song of the Sun God is the latest addition to this canon of diasporic literature. It begins in 1932 Colombo, before my parents’ birth and British Independence. It’s a time I know little about anecdotally, which made this book all the more interesting. The narrative follows married Tamil couple Rajan and Nala, who – like my own parents – grew to adulthood in Sri Lanka before their eventual migration to Sydney. Spanning multiple generations, it explores their evolution as parents and grandparents to their daughter, Priya, and adoptive daughter, Dhara – custodianship between families is a common practice in Sri Lanka – and their respective children. I found the history and political situation was explained in a compelling, moving way and whilst hard to read I was interested to learn more about a country I only knew a little about.A beautiful look at colonial history, the stoking of the divisions between Sinhalese, Tamils and Muslims and how events move inexorably toward bloodier and bloodier massacres. And this is shown through the impact on peoples lives but also broader commentary.

Australian author Shankari Chandran is a lawyer and social justice advocate. She was born in London, and raised in Canberra after her parents left Sri Lanka. This is her debut novel, a family saga reaching from the 1930s in Colombo to the 2010s in Sydney. It centres on the Sri Lankan Civil War which lasted from 1983 to 2009, a conflict between the majority Sinhalese Sri Lankan government and the Tamil Tigers who wished to establish a Tamil homeland in the North East. This followed multiple violent pogroms by the Buddhist Singhalese against the Tamils, the suppression of the Tamil language, the theft of their lands, and the burning of the Jaffa Public Library containing their precious cultural Hindu texts. However, there was also more in this debut novel. Shankari Chandran offers a searing portrait of a paradise toyed with by colonial powers and then left to the manipulations of religious politics. Or politics in religion's clothing. She deftly handles a seven decade timeline (don't be alarmed readers there are dates in the chapter headings), spending long enough in each one, to give you a sense of the rapidly deteriorating communal relations, all the paths that weren't taken, all the moments when a war could have been prevented. Montserrat argues that all the versions of the hymns focus on the king and suggests that the specific innovation is to redefine the relationship of god and king in a way that benefited Akhenaten, quoting the statement of Egyptologist John Baines that "Amarna religion was a religion of god and king, or even of king first and then god." [21] [22] I was very pleased that the book was NOTHING like that. It was honest and had the true essence that can categorize it as a Sri Lankan book. Fans of Homegoing, Salt Houses and Pachinko, take note. This book is brilliant! Karen Radzyner, Executive Producer and Head of Development at Photoplay Films, added: “We are thrilled to be collaborating with such a dynamic team of talented women to bring this female-led story of a little known war to life – Shankari is an incredible novelist and Olivia’s screenwriting compellingly captures the emotion and jeopardy for Shankari’s three generations of women. With Charithra now set to play our lead on screen and join myself and Claire on the production, we couldn’t be galvanised. There has never been a better time to tell this powerful story. We can’t wait to bring it to the screen.”

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The 18th Dynasty Pharaoh Akhenaten forbade the worship of other gods, a radical departure from the centuries of Egyptian religious practice. Akhenaton's religious reforms (later regarded heretical and reversed under his successor Pharaoh Tutankhamun) have been described by some scholars as monotheistic, though others consider them to be henotheistic. [6] Excerpts of the hymn-poem to Aten [ edit ] Darnell> [1], John (3 August 2007). Tutankhamun's Armies: Battle and Conquest During Ancient Egypt's Late Eighteenth Dynasty. p.41. ISBN 978-0471743583. {{ cite book}}: External link in |last= ( help) Anyway, I don't want to move. This is our home; we built this house and your practice. We were here first," she finished petulantly. The novel — which is being adapted for television in a series starring Bridgerton’s Charithra Chandran — does not shy away from depicting the human toll of war, nor from probing the human failings and motivations that underpin it. The timelessness of which it suggests, in part, through its evocation of stories from the Hindu epics of the Mahabharata and the Ramayana. Pritchard, James B., ed., The Ancient Near East – Volume 1: An Anthology of Texts and Pictures, Princeton, New Jersey: Princeton University Press, 1958, pp. 227-230.