The Winter of Love at Capital Woman

Capital Woman are promoting and screening “The Winter of Love”, the directorial debut by Shakila Taranum Maan  on 8th March at the Queen Elizabeth II Conference Centre, Broad Sanctuary, Westminster SW1P 3EE.

The DVD of The Winter of Love will be sold at a discounted price for the conference participants.

Ken Livingston, the Mayor of London will introduce the day along with special audience with Angela Davis

For more information on the day, contact Capital Woman.

Click here to purchase the DVD of The Winter of Love.



“The Winter of Love is a sensitive drama that gets under the skin of Asian life with its atmospheric visuals and a compelling soundtrack by Kuljit BhamraSuman Bhuchar writing in Asian Woman, January issue.

In the January Issue of Asian Woman’s film section, The Winter of Love walked away with a grand review by Suman Bhuchar   and 5 stars to boot. Recommended as stocking filler, the feature is an independent production released by The Art Ministry  and written and direct by Shakila Taranum Maan.

Click here for information and to purchase a DVD of The Winter of Love.  

The youngest member of The Winter of Love

Hardeep Singh Mangat, the youngest of the cast in ‘The Winter of Love’ (formally A Quiet Desperation) fitted in perfectly – at the time of the shoot, Hardeep was in his late teen’s – tall and charming – a child in a man’s body. Playing the role of Sonu Singh, Paji’s youngest child, Sonu Singh is left with the responsibilities of caring for a mentally disturbed elder sister after the death of their father. Their world is turned upside down and further complicated by the arrival of their uncle, Shammi Singh, played by Shiv Grewal.Hardeep’s route into acting was through community theatre which he was involved in from his early teen’s where in appeared in a play at the National Theatre, A Indian Summer by Harwant Bains, qualifying for a runner up in a competition run by the National.

A versatile and natural actor, Hardeep was un-phased by the tumultuous activity around him. Delivering a very natural talent, Hardeep delivered a poignant performance of a teenage unable to cope with adversity.

Although Hardeep is no longer acting, his contribution to The Winter of Love remains exemplary.

Shiv Grewal from the cast The Winter of Love

Shiv Grewal’s rendition of Shammi in ‘The Winter of Love’ (formerly ‘A Quiet Desperation’) takes the viewer into a difficult world of a lonely man.Estranged from his brother and his family, Shammi finds himself on the outside, living a life as a drunk and destitute. The character of Shammi epitomises the question of what is a good person. Here we see an unkempt man, living in his car and sleeping with prostitutes who end up being the saviour of his niece, Preeti. Played with a reserve seldom seen, Shiv Grewal gives a performance of depth epitomising despair.

Shiv Grewal is an established British actor, working on stage, film and television and often on radio playing key roles with depth and conviction.

His most recent production playing the part of Afzal in “The Last Enemy” (2007) is shot at the Castel Film Studios, Bucharest, Romania and in London. Parts of it were shot near the Battersea Power Station. The film is currently in post-production.

Shiv has been involved in British Asian theatre for some years now and has appeared in a number of productions. Bringing his vast experience to the production of The Winter of Love, Shiv’s professionalism helped propel this low budget/no budget feature into some shape.

His portrayal of Shammi’s character brought out the quiet desperation of the character and pin-pointed the defiance within bringing in these striking elements onto the screen – that of an outsider.

The Winter of Love and its film language

In ‘The Winter of Love’ (formerly ‘A Quiet Desperation’), film language or creating its own internal language was a key driving force in making the film.Upon reflection, the DOP commented that we had entered the realms of European film making – albeit some clumsy moments, the film’s ambitions to a certain extent were met.

By using a non-linear structure, which at the time of filming was just coming to the notice of audiences, the film tried to make a difference in how low budget films were structured. In hindsight, it might have been easier to go with a conventional structure as the theme of the language was alienation and the outsider, a tall order by any means.

The language of the film really came together on the editing table, where we were challenged to work with a limited amount of material. In total we had shot about 7 hours of footage, working with a ratio of 10 to 1, or is it 1 to 10 – I don’t recall which way it’s meant to be read, anyhow, for every shot we could only shoot ten takes or we would have run out of film stock. Phew!

With Shammi’s character along side that of Preeti, the language of the outsider was quickly established – this was then depicted through shots of lone skies in various colours/moods/shades and close shots of the bodies of the characters which further alienated them from the whole.

For me to decipher the language of the film is a difficult matter as I believe the film uses cyclical motions to travel with each character as the story develops and returns to the present – so the anchor was always the present and rested within the character of Shammi, played by Shiv Grewal; he is the outsider, who once upon a time was on the inside but had the ability to step away, learn about the world and return – it was about showing a broken man unable to maintain himself being and by default becoming the saviour; attaining redemption.