India Film Guide 2022 by Pickle -- Indian M&E Biz

FILMS

INDIAN PANORAMA FUTURE FILMS

INDIA

FILM GUIDE #IndiaAtCannes

75 GLORIOUS

YEARS

Celebrating India’s Independence & Cannes Film Festival

Cannes Film Market India Pavilion 109 International Village Riviera May 17-28, 2022

Cannes Film Market 1 Handbook to engage with the business of Indian Cinema

FILMS

INDIAN PANORAMA FUTURE FILMS

www.ffo.gov.in

Varanasi, Uttar Pradesh

Meet us at India Pavilion, Village International Riviera, Pavilion 109, Palais 2

India Film Guide 2022

content indian film production centres

Film Sector Initiatives

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21 indian film SECTOR

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FILMING IN INDIA

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CO-PRODUCTION AGREEMENTS

FILMS

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FILM BODIES

FOREWORD

Anurag Singh Thakur Union Minister for Information & Broadcasting and Youth Affairs & Sports Government of India

am happy to know that India is participating in the Cannes Film Festival as a Country of Honour in the Marche du Film this year. Cannes Film Festival is one of the most awaited international film festivals in the world and the Indian film industry is always enthused about it, for the opportunities it offers to the film makers. India has various language film industries, some large and some small, and is the largest film producing country in the world. Indians love entertainment through the cinematic medium. India is a very old civilisation. With a diversity of cultures and languages, we have a lot of stories to offer to the world. Today we feel that India can be the content hub of the world with these stories. The epics of Ramayan and Mahabharat have been a major source of inspiration for various aspects of human life over the centuries, and the fables in these stories offer lessons to humanity in many ways. This edition of Cannes Film Festival is special in many ways. This year, the intent is to showcase the rich flavour and diversity of India – culture, heritage, legacy, developments through its cinema. In a first of its kind, Indian music maestros will be attending and performing at Cannes to reflect the vibrance and diversity of Indian cinema at the festival. Celebrities from regional cinema and folk artist from Rajasthan and OTT stars have also been invited reflecting the flavour and diversity of Indian Cinema. The delegation has been hand-picked from across the length and breadth of the country to represent different strengths and aspects of the country. India is also celebrating the birth centenary of legendary film maker Sh. Satyajit Ray, and his restored film Pratidwandi will be screened in the Cannes Classics section. World Premier of 6

India Film Guide 2022

Rocketry and screening of many Indian films will also take place. I am particularly happy that many startups from India will be able to showcase their strengths to the cinema world. The India Pavilion, like always, will showcase Indian cinema and will promote international partnerships and learnings. The Government of India under the leadership of Prime Minister Mr Narendra Modi has worked to support international film co-productions and shooting of films in India, by promoting ease of doing business in the film sector. I hope the international visitors will be able to experience the rich cultural heritage, film tourism opportunities, and technological prowess in film making that India has to offer. The single window facilitation and clearance mechanism for permissions for filming across India is a one-stop digital repository of information for film makers. I invite filmmakers to visit India and see our incredible locations and explore the talent of our young men and women. This year, as India celebrates 75 years of its independence from colonial rule and also 75 years of Indo-French diplomatic ties, I am also happy to note that the Cannes Film Festival is also celebrating 75 years of its creation and rich legacy. This amalgamation of cultures and emotions is very significant to us. I am very thankful to France and President Emmanuel Macron for extending this honour to India to commemorate 75 years of our friendship. I hope that the film industries of the world have valuable experiences with their interaction with the best in the cinematic world and are able to utilise this opportunity to share and learn from each other. I send my best wishes to all of you.

India has various language film industries, some large and some small, and is the largest film producing country in the world. Indians love entertainment through the cinematic medium Cannes Film Market

FOREWORD

Dr. L.Murugan Union Minister of State for Fisheries, Animal Husbandry, Dairying, Information and Broadcasting, Government of India

am happy to present the India Film Guide at this year’s Cannes Film Festival, 2022. This festival offers excellent opportunity for the film makers across the world to meet, interact and share their knowledge and experience. This year’s Cannes Film Festival coincides with the Azadi Ka Amrit Mahotsav, which commemorates seventy five years of India’s independence and the glorious history of its people, culture, and achievements. The Indian Media and Entertainment sector has been playing a crucial role in realising Prime Minister Narendra Modi’s vision of New India, fuelled by the spirit of Aatmanirbhar Bharat. The number of films produced in India each year demonstrates the country’s rich cinematic culture. The Government of India has taken numerous initiatives to position and promote the Indian Film Industry around the world, and it is dedicated to making India the most sought-after filming destination. India has scenic locations, incredible cultural diversity, trained film crews, and low production costs, all of which are complemented by film-friendly policies. Because of these advantages, many foreign studios are increasingly entering into agreements with Indian producers to co-produce films and television series. Under the automatic route, India has also allowed up to 100% FDI in film productions.

India Film Guide 2022

The Film Facilitation Office (FFO) has been designated as the single point of contact for obtaining filming permissions in our country’s beautiful landscape, from the mighty Himalayas in the North to the scenic temples and beaches of Mahabalipuram in South, as part of the Government’s ease of doing business initiative. FFO has assisted nearly 127 film production companies from around the world in shooting in India. Many projects were co-produced not only in the film industry, but also in the broadcasting and television industries. India also has co-production and bilateral agreements with approximately thirty countries worldwide. I invite the global filmmaking community to explore these opportunities of filming in India. I welcome you all. I also wish all the participants, delegates and filmmakers a wonderful experience and hope that you enjoy the variety of cinema at the Cannes Film Festival. All the best for your enjoyable and fruitful stay at Cannes. Thank you

The Government of India has taken numerous initiatives to position and promote the Indian Film Industry around the world, and it is dedicated to making India the most sought-after filming destination

Cannes Film Market

FOREWORD

Apurva Chandra Secretary Ministry of Information and Broadcasting Government of India

am delighted to share with you that India is the Country of Focus at the Cannes Film Market which is coinciding with the 75 YEARS of India’s Independence. This is also a pleasant coincidence that when we are celebrating the 75 years of India’s independence , this edition is also 75th edition of Cannes Film Festival. As the largest film making country in the world that produces more than 2000 films every year, India has much to offer to the international film community. The market provides an excellent platform to demonstrate the diverse cinematic work done in India and to attract film makers and film agents from across the globe to put forth their interest in the content made in India. India is poised to become the content hub of the world where diverse content in different languages in different genres are created every year. It is not only providing film making opportunities on varied subjects, spectacular filming locations but also in the postproduction activities in cost effective manner. India’s story telling through animation has tremendous potential to become a global centre for such activities. The Government of India and Ministry of Information and Broadcasting is committed to provide an enabling environment for this industry to grow leaps and bounds. The recently constituted AVGC (Animation, Visual Effects, Gaming and Comics) Task Force is a positive step in this direction. Our commitment to create a National Centre of Excellence in AVGC sector is to boost the skillsets in this sector.

India Film Guide 2022

The Government of India is committed to promote India as an important film shooting destination in the world and a coproduction centre through National Film Development Corporation (NFDC), which now serves as the strategic interface between the government and all strategic interventions in India’s film sector.In an effort to create a structured film trade centre in India, it has created Film Bazaar which has now become one of the important film markets not only in South Asia but also in the world. There are various institutions under NFDC to provide an enabling environment to place Indian film industry at the global level. This book provides a beautiful amalgamation of government policy initiatives, filming scenario in the country and filming institutions to give a perspective to India’s growth story. The International Film Festival of India( IFFI) which is more than 50 years old now has created a niche in the world of film festivals with attracting quality international films in good numbers every year. It is going to be bigger and better with the upcoming editions. I invite international filmmaking community to visit the India Pavilion at the Cannes Film Festival be a part of India’s growth story in this sector.

India has much to offer to the international film community. The market provides an excellent platform to demonstrate the diverse cinematic work done in India and to attract film makers and film agents from across the globe to put forth their interest in the content Made in India Cannes Film Market

Film Sector Initiatives Film Policies of the Ministry of Information & Broadcasting

Film in India

Ministry of Information and Broadcasting Government of India

he Ministry of Information and Broadcasting serves

the Enterprises Government of India's public face. The Ministry of Heavy Industries as and Public Ministry of Petroleum and Natural Gas is tasked with disseminating information Ministry Ministry of Road Transport about& Highways government policies, schemes, and programmes Government of India Ministry of Information & Broadcasting Government of India

SPOT INFORMATION +91-23380570 WEBSITE www.mib.gov.in EMAIL moib@gov.in Union Minister for Information & Broadcasting Anurag Singh Thakur MINISTER OF STATE FOR INFORMATION & BROADCASTING Dr. L. Murugan SECRETARY Apurva Chandra Additional Secretary Neerja Sekhar Director (Films) Dhanpreet Kaur 14

through various media vehicles. The Ministry and its media units effectively use radio, television, films, press and print publications, digital and social media, posters, advertising, and traditional modes of communication such as dance, drama, folk recitals, and puppet shows in the dissemination and free flow of information.

The execution of the mandate concerning film sector of the Ministry of Information & Broadcasting is carried out through the following bodies: o o o o o o o o o

Films Division Central Board of Film Certification National Film Archives of India Directorate of Film Festivals Film and Television Institute of India, Pune Children’s Film Society of India Satyajit Ray Film and Television Institute, Kolkata National Film Development Corporation Film Facilitation Office

Today, as the world's largest film producing country recovers from the COVID-19 pandemic, the Indian film industry is looking for a great reset in order to harness its soft power to help transform India. In this regard, the Ministry of Information and Broadcasting is playing a critical role in providing policy guidance and setting the priorities necessary to achieve the major milestones the industry has set for itself, and the approach is straightforward: to act as a facilitator rather than a regulator to help the industry grow.

The Ministry is functionally divided into three sectors viz., Information, Broadcasting and Films. The Films Wing of the Ministry administers the Cinematograph Act, 1952 which looks into certification of films for public exhibition, import of films for theatrical and non-theatrical viewing, export of Indian films, import of unexposed cinematograph films and various types of equipment required by the film industry, all matters relating to film industry, including developmental and promotional activities thereto, promotion of good cinema by institution of State awards for films produced in India and assistance provided by the National Film Development Corporation Limited, production and distribution of documentaries and newsreels, as well as other films and film strips for internal and external publicity, preservation of films and filmic materials, organisation of International Film Festivals in India and participation of India in International Film Festivals abroad, organisation of Film Festivals under Cultural Exchange Programs, and so on.

India Film Guide 2022

The Ministry of Information and Broadcasting is playing a critical role in providing policy guidance and setting the priorities necessary to achieve the major milestones the industry has set for itself, and the approach is straightforward: to act as a facilitator rather than a regulator to help the industry grow

Cannes Film Market

Film in India

National Film Development Corporation

he Ministry of Information and Broadcasting has transferred the mandate of production of documentaries and short films, organization of film festivals and preservation of films to the National Film Development Corporation (NFDC), a PSU working under the Ministry. Bringing all these activities under a single management will reduce the overlap of various activities and ensure better utilization of public resources. The mandate of production of feature films is already being carried out by NFDC. It will give a strong impetus to the production of films of all genres including feature films, documentaries, children films and animation films; promotion of films through participation in different international festivals and organizing various domestic festivals; preservation of filmic content, digitization and restoration of films; and distribution and outreach activities. The ownership of the assets available with these units will, however, remain with the Government of India. The mandate of production of documentaries that was earlier done by Films Division has been completely transferred to NFDC. The legacy and brand name of Films Division will

be taken further and the Production Vertical for production of documentaries in the NFDC will be named as Films Division. Similarly, the organization of film festivals that was the mandate of Directorate of Films Festivals has been transferred to NFDC. This will bring the organization of different national and international film festivals under one roof, thereby bringing in more synergy and a focused international outreach. Some of the major upcoming Film Festivals to be organized by NFDC are the Mumbai International Film Festival, International Film Festival of India at Goa, and Children’s Film Festival. Audio Visual Service is one of the 12 Champion Service sectors identified by Dept. of Commerce, and Ministry of Information & Broadcasting is the nodal Ministry for this sector. Financial incentives for audio-visual co-productions with foreign countries and for promotion of shooting of foreign films in India have also been approved by the Government to further stimulate the Audio-Visual service sector of the economy and promote creative and technical services. This will also be spearheaded by the NFDC through its Film Facilitation Office.

India Film Guide 2022

The decision has made NFDC the strategic interface between the government and all strategic interventions in the film sector and industry in India, which will enhance coproduction opportunities in India.

consulting, and funding assistance, and organises Film Bazaar, South Asia's most prolific Film Market. It also assists Indian producers in finding suitable partners in foreign film festivals and vice versa.

The NFDC is one of its kind hybrid institution in the world. It provides skill development, script labs, developmental labs, marketing

Financial incentives for audio-visual coproductions with foreign countries and for promotion of shooting of foreign films in India have also been approved by the Government to further stimulate the Audio-Visual service sector of the economy and promote creative and technical services

Cannes Film Market

Film in India

Ease of Doing Business – Single Window Clearance – Film Facilitation Office

he government is committed to Ease of Doing Business in the Film Industry in order to aggressively brand Indian cinema. As part of the Film in India initiative, the Ministry of Information and Broadcasting's Film Facilitation Office (FFO) has launched its online ecosystem www.ffo.gov.in for obtaining filming permissions through a single window system. This system allows producers to obtain permission to shoot anywhere in India online, ensuring the Ease of Doing Business. The FFO, which was founded in 2016, serves as a partner in the filmmaker's journey from script to screen. As the government has become an important stakeholder in the Indian film ecosystem, FFO has ensured that permissions and other support services are much faster and more streamlined in India. The FFO portal, which was established as a single window clearance system for granting mandatory filming permissions from the Central and State governments, lists all important guidelines and advisories for both international and Indian filmmakers. Filmmakers can easily access information about filming, as well as understand the processes of international arrivals, visa issuance, and quarantine exemption requests, all with the click of a button.

Applying for filming in India online through the portal is a piece of cake. When a filmmaker applies through the portal, information is automatically transmitted to all nodal agencies. The website contains information about the Nodal Officers of all Indian States and Union Territories, as well as their filming policies and guidelines. The portal not only allows filmmakers to submit applications online, but it also lists India's co-production treaties. It disseminates information on India’s various shooting locations across all the States (each location having detailed information relevant to that particular location) and lists facilities available with the Indian film industry for postproduction, animation and VFX. The National Film Development Corporation (NFDC) is constantly engaging with various Central Government Ministries/Departments and State Governments through the FFO to not only ease the filming process but also to set up a mechanism that allows the FFO to address filming grievances and track receipt of incentives on behalf of filmmakers. Filmmakers can easily apply for permits for location scouting, shooting in monuments under the jurisdiction of the Archeological Survey of India, and shooting in locations under the Ministry of Railways via the FFO.

India Film Guide 2022

During the pandemic, as many as 18 international projects were granted permission, demonstrating the support given to filmmakers. The official Indo-Bangladesh coproduction Bangabandhu has been completed, and crew members from France, the United States, the United Kingdom, Nigeria, and Canada, among others, are in the process of obtaining Film Visas to travel to India to shoot various projects.

requirements. It has assisted nearly 127 film production companies from around the world in shooting in India. To facilitate clearances, FFO has established its own network of nodal officers in various state governments, in addition to integrating its system with a number of states and central ministries. FFO is also in the process of finalizing an incentive scheme for international filmmakers in line with various other countries.

The Film Facilitation Office understands international filmmakers' needs and has emerged as a one-stop shop for all of their

As part of the Film in India initiative, the Ministry of Information and Broadcasting's Film Facilitation Office (FFO) has launched its online ecosystem www.ffo.gov.in for obtaining filming permissions through a single window system. This system allows producers to obtain permission to shoot anywhere in India online, ensuring the Ease of Doing Business

Cannes Film Market

Film in India

Co-Production Treaties

nternational co-productions have taken on enormous importance in the new normal, when the entire value chain of the film industry is changing and the dynamic processes of creation and co-creation are being discussed as the way forward. A co-production is a collaboration between two or more production companies to create a feature film, animation, TV show, Web show, or series. It allows filmmakers from various countries to collaborate and make films under bilateral co-production agreements. Bilateral co–production agreements now allow filmmakers from various countries to collaborate and create films. Co-productions under these agreements benefit filmmakers more than a purely commercial collaboration between two individuals or entities. New markets and audiences would be available for the product, particularly if collaborations and partnerships are formed between citizens of different countries. Each agreement specifies the Competent Authority for the country in question, to whom applications for approval as Co-Production and other purposes are submitted. It is the Government of India's Ministry of Information and Broadcasting. Bangladesh, Brazil, Canada, China, France, Germany, Israel, Italy, Republic of Korea, New Zealand, Poland, Portugal, Russia, Spain, UK & Northern Ireland are among the 15 countries with which India has signed audiovisual coproduction treaties. Governments participate in these treaties as institutional funders or as institutional development agencies to support 20

co-productions on both the supply and demand sides. At least 16 films have been co-produced under these co-production treaties, with four films co-produced without co-production agreements. Some of the films co-produced include:              

Union Leader (Indo–Canada) The Extraordinary Journey of the Fakir (Indo-French) Agra (Indo–French) Sir (Indo–French) Genius Jijaji (Indo–Canada) Quissa (Indo-German) The Lunchbox (Indo-French-German) Arunday (India France) Noah's Ark (Indo–Brazil) Bangabandhu (Indo-Bangladesh) Mia and Me - The Hero of Centopia (Indo-German) Xuan Zang (China) The Hungry (UK) Beyond the Know World (Indo-New Zealand)

Some of the India backed films co-produced with international partners include Gandhi, Salaam Bombay, Making of Mahatma, Jaya Ganga, Chauthi Koot, Xuan Zang among others. They are not made under official treaties but partnered and filmed projects. Top Indian animation studos like DQ Entertainment International, Tooz Animation, Green Gold have done co-productions with European renowned studios.

India Film Guide 2022

AVGC Policy Initiatives

he government has announced the formation of a task force for Animation, Visual Effects, Gaming, and Comics (AVGC) with the goal of developing worldclass creative talent to meet domestic and global demand. This development has occurred as the AVGC sector in India has grown as a B2B industry, with revenue derived from global services. However, the last few years have seen a significant B2C agenda, with consumers embracing entertainment and revenues increasing exponentially. The AVGC sector is growing at a faster rate than any other M&E vertical. The AVGC sector accounted for INR 1.2 billion of the total M&E revenues of INR 1.82 trillion in 2019 with a CAGR of 9 percent. Over the last decade, this sector has grown from 2-3% of the total revenue pie to roughly 10% of the total Indian M&E sector. After laying a solid foundation over the last two decades, the task force for the promotion of the Indian AVGC sector is expected to place a strong emphasis on positioning the Indian AVGC sector for services exports, co-productions, the growth of indigenous intellectual property, and its consumption patterns both within India and abroad. Apart from media and entertainment, the horizon and use cases of AVGC verticals have expanded beyond its day-to-day defined utility in Architecture, Life Science, Legal, Education, Industrial, Urban Planning, Sports, Digital Universe, Metaverse, and so on. AVGC is truly one area where India's creative talent is Cannes Film Market

at its peak. The government is also working towards creating a National Centre of Excellence for AVGC to provide a major boost for further development of the sector in India. Many companies have created top-end studio facilities in India that serve as single windows to fulfill the needs of the global and domestic M&E industry. Their importance in growing the industry becomes more digital and fragmented in consumer reach through multiple platforms. It’s the ‘digital India’ for global needs in this sector. The Indian audio-visual sector is also a champion sector recognized by the Government of India. Hundred percent FDI is allowed in this sector. The Ministry of Commerce and Industry has identified this sector as a high potential for increasing job creation and export earnings for India. It was forecasted that the industry could create 2-3x growth in jobs over 4 years. The government has also announced to come up with a National AVGC policy that will spell out clear objectives for the healthy growth and economic viability of the sector and will guide the stakeholders including various authorities and regulatory bodies to fulfill their respective obligations. This policy will be critical for aligning the growth objectives of the businesses, balancing consumer interest, and for creation of a robust AVGC sector. It will also help bridge the gap between different AVGC policies of State governments and bring together a coherence in terms of business objectives, laws, regulations to encourage investment, create employment opportunities. 21

Film in India

he government has been making considerable efforts to rationalizing copyrights across multiple disciplines of the film production sector. India has adequate copyright laws in place, and in July 2018, India ratified the WIPO Internet Treaties, specifically the WIPO Copyright Treaty (WCT) and the WIPO Performances and Phonograms Treaty (WPPT). In 2019, India ratified the Lisbon, Nice, and Lacarno Agreements on intellectual property

classification. Cinematograph (Amendment) Bill 2021, proposes to penalise film piracy and empower the central government to order recertification of an already certified film following receipt of complaints.

INDIAN FILM PRODUCTION CENTRES

Top filmmaking Centres of India

Efforts are also being made to encourage financing of content through content funds for IP creation/generation/co-production and leverage state and central government funds to spur cross-border and local IP.

India has adequate copyright laws in place, and in July 2018, India ratified the WIPO Internet Treaties, specifically the WIPO Copyright Treaty (WCT) and the WIPO Performances and Phonograms Treaty (WPPT)

India Film Guide 2022

Cannes Film Market

Film in India

INDIA

FACTS The official portal

http://india.gov.in Administrative Divisions

29 States and 7 Union Territories Political System

Democracy Languages Hindi, English and 21 other national languages Capital

New Delhi Area India measures 3,214 km from north to south and 2,933 km from east to west with a total land area of 3,287,263 sq km 24

Film in India CLIMATE

AIRPORTS

Southern India enjoys tropical climate but northern India experiences temperatures from sub-zero degrees to 50 degrees Celsius. Winters in northern India are usually during December to February while spring blossoms in March and April. Monsoons arrive in July and stay till September, followed by autumn in October and November

Airports Authority of India (AAI) manages 129 airports in the country, which includes 23 international airports and 20 civil enclaves at defence airfields

RAILWAYS The Indian Railways network is spread over 108,706 km, with 12,617 passenger and 7,421 freight trains each day from 7,172 stations plying 23 million travellers and 3 million tonnes (MT) of freight daily India Film Guide 2022

INDIA

FACTS

International Airports:

Currency

Ahmedabad, Amritsar, Bengaluru, Chennai, Goa, Guwahati, Hyderabad, Kochi, Kolkata, Mumbai, New Delhi, Thiruvananthapuram, Port Blair, Srinagar, Jaipur, Nagpur, Calicut

Indian Rupee

Telephone Code

+91

ROADWAYS India’s road network of 4.87 million km is the second largest in the world. With the number of vehicles growing at an average annual pace of 10.16 per cent, Indian roads carry about 65 per cent of freight and 85 per cent of passenger traffic Cannes Film Market

Time Zone

IST Internet

.in

Film in India

FILM MAKING CENTRES OF INDIA The world’s largest filmmaking country provides filmmakers with a number of advantages over many other countries, including geographical and cultural diversity, world-class production and post-production facilities, and skilled labour

ndia is likely the most culturally and linguistically diverse country on the planet. Its people speak 22 languages in addition to hundreds of dialects. No surprise, then, that India is a land of many cinematic traditions, producing around 2000 films per year in a variety of languages, each with its own distinct literature, history, theatre, and music. The world’s largest filmmaking country provides filmmakers with a number of advantages over many other countries, including geographical and cultural diversity, world-class production and post-production facilities, and skilled labour. Indian films are made in a variety of locations across the country, and each of these filmmaking cities serves as a hub of cinema in one major language. The Hindi film industry is headquartered in Mumbai, India’s film capital. Marathi-language

films are also produced in the city, which is inextricably linked to the history of Indian cinema (along with neighbouring Pune). Other major Indian film production cities include Chennai, Kolkata, Hyderabad, Thiruvananthapuram, Bangalore, Bhubaneswar, Guwahati, Patna, and Delhi NCR. While Bollywood films continue to draw audiences in India, films from other regional languages have recently taken centre stage. Because of the rise of OTT and streaming platforms, audiences have become language agnostic, and films in languages such as Tamil, Telugu, Kannada, Marathi, Bengali, Punjabi, and Bhojpuri are no longer geographically limited. It is now well established that a compelling story with universal themes can cross borders. This new development is certain to add significantly to the breadth and depth of Indian cinema.

India Film Guide 2022

While Hindi films continue to draw audiences in India, films from other regional languages have recently taken centre stage Cannes Film Market

Film in India

Mumbai

Maharashtra

The centre-point of Indian film industry, Mumbai, popularly Bollywood, is a land of cinema. From commercial grandeur to arthouse movies, there is no short of cinema in the capital city of Maharashtra.

umbai, India’s business capital and home to Bollywood (Hindi cinema), is the epicentre of film production activity. Cinematography was introduced in India in 1896 by Lumiere Brothers when they showcased six short films at Watson Hotel, Mumbai. Since then the city has nurtured the entertainment industry and has contributed significantly by providing considerable talent, infrastructure and opportunity to the sector. The thriving western Indian metropolis produces nearly 200 Hindi-language films each year. It also produces Marathi-language films, which flourished in the hands of pioneering stalwarts like V Shantaram and Bhalji Pendharkar, among others, in the silent era and beyond. The nearby city of Pune, is also a thriving hub for AVGC sector and a preferred destination for creation of animation, visual effect, Gaming and Comics. The city has abundantly available artistic talent and is home to the Film and Television Institute of India (FTII),

one of the oldest and finest institutes in the field of training in film making and television programme production. A large portion of the Hindi films produced in Mumbai are classified as Bollywood, a term used to describe an old cinematic tradition based on a formulaic and crowd-pleasing mix of melodrama, romance, moral conflict, and music. This extravagant form of storytelling is also very popular in other filmmaking centres. However, it is far from the only type of cinema to emerge from Mumbai. The city has always had two distinct filmmaking streams – one aimed at providing glitzy and emotionally satisfying entertainment to the masses, and the other at appealing to a niche audience with a preference for more realistic films. Of course, there have been times when these two distinct approaches have collided in the same film, resulting in timeless classics such as Mother India, Mughal-e-Azam, Deewar, and

India Film Guide 2022

Thanks to the efforts of directors such as Shyam Benegal and Govind Nihalani, Mumbai played an important role in the evolution of parallel films in the late 1960s and early 1970s. In the aftermath of major commercial successes over the last decade and a half, its filmmakers also drove the global spread of the Bollywood narrative idiom. A new generation of Mumbai filmmakers, drawn to the city from all over the country, has created a new type of popular cinema that combines social awareness, aesthetic clarity, and stylistic accessibility.

The state’s initiatives for film promotion include, among other things, the creation of Maharashtra Film Cell (MFC) to facilitate all film shooting approvals in an integrated manner from a single location; the formation of the Film Tourism Promotion Council under the aegis of Maharashtra Tourism; and a ready-toshoot, pollution-free infrastructure in the form of Dadasaheb Phalke Chitranagri Film City in Mumbai. The Film city offers infrastructure comprising of 16 studios having over 85,000 sq. ft. (approx.) of built-up air-conditioned and acoustically treated studio facilities-with power, water, trained support staff, catering and hospitality facilities along with 521 acres of lush green land with more than 60 ideal shooting locations.

Several of these films have travelled to international festivals in recent years while finding takers on the domestic distribution circuit as well.

The state government is also set to provide industry status for films and the broader entertainment segment to help expand infrastructure in the state beyond the Filmcity.

Lagaan. The mainstream Bollywood industry is driven by A-list Mumbai cinema stars, who are idolised throughout the country and by the Indian Diaspora.

The thriving western Indian metropolis produces nearly 200 Hindi-language films each year. It also produces Marathi-language films. The nearby city of Pune, is also a thriving hub for AVGC sector and a preferred destination for creation of animation, visual effect, Gaming and Comics Cannes Film Market

Film in India

Chennai

Hyderabad

Tamil Nadu

Chennai was once the hub of movies made in all south Indian languages. Now home to the Tamil film industry, the city is equipped with a well-developed infrastructure and connectivity and is home to a wide pool of talents.

hennai (formerly Madras) is home to the hugely successful and productive Tamil film industry, which has given Indian cinema some of its biggest and most enduring stars over the decades. The Tamil film industry has been active since the mid-1910s. While the political influence of Tamil film stars and screenwriters is well documented, the Tamil film industry has always been an efficient and industrious industry with a well-developed infrastructure since its inception. It has always kept up with the rest of Indian cinema’s growth. Indeed, at several points throughout its history, it has set the standard for others to follow, particularly in matters of technology and film production practises. Tamil cinema is popular not only in Tamil Nadu, but also in the other southern states of India, as well as among the Tamil expatriate community worldwide. Since 1948’s Chandralekha opened the floodgates for nationally distributed films from this part of India, Hindi versions of Tamil box office hits as well as bilingual productions mounted in Chennai have been successful throughout India. 30

The dominant strain of Tamil films, like that of Hindi popular cinema, is based on the star power of its male superstars, most notably veterans Rajinikanth and Kamal Haasan. A new generation of celebrities has carried on the tradition. However, the industry has seen a steady output of films from young directors working outside the conventional star system with great success in the past and in recent times. Mani Ratnam, who also makes films in Hindi, is one of the better-known Chennai directors among audiences throughout the country. The state government, committed to providing world-class film production infrastructure, has upgraded infrastructure at the M.G.R. Film City by establishing an animation and visual effects studio, renovating dubbing theatres, and constructing hostels, among other things. The AVGC industry in Tamil Nadu has shown a steady growth in recent years and the state is home to a number of major AVGC studios, startups and talent.

India Film Guide 2022

Andhra Pradesh Telengana Though Andhra Pradesh was split into two different states, Hyderabad continues to be the capital of Telugu cinema. The city can be called a film factory, as the Telugu industry released more movies in a single year than any other Indian language.

yderabad is the hub of Telugu cinema, which is one of the most prolific and commercially successful in India. There are 2000 movie theatres in Telengana and Andhra Pradesh, the two separate states that the formerly united Andhra Pradesh has been split into, the most in any single region of India. Telugu films have released more films in a single year than any other Indian language, including Hindi, on several occasions in the last decade. Many big-budget Hindi and Tamil films are official remakes of Telugu hits, demonstrating the mass appeal of Hyderabadproduced films. Some of India’s best film production studios are located in Hyderabad. They were founded by well-known Telugu film industry figures such as B. N. Reddy, L.V. Prasad, Akkineni Nageswara Rao, and D. Rama Naidu. Large sections of the Telugu film industry were based in Chennai until about three decades ago. Today, however, Hyderabad is the epicentre of Telugu filmmaking. Filmmaker S.S. Rajamouli and male stars such as Prabhas have

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achieved national acclaim, owing largely to the phenomenal success of the period action drama Baahubali. Hyderabad is a world-class film production centre with award-winning talent on both sides of the camera. The state provides cutting-edge post-production, animation, and special effects capabilities, stunning filming locations, cuttingedge studio facilities, and comprehensive support services to ensure a seamless production experience from start to finish. Telangana’s progressive and forward-thinking government has not only implemented new policies to support the growth of the entertainment sector, but is also actively seeking ways to develop the state as a global M&E hub. More than 200 AVGC-XR companies will soon be able to operate from the IMAGE Towers in Hyderabad, utilising shared facilities such as motion capture studios, preview theatres, and so on, which are spread across this 600,000 square foot area.

Film in India

Thiruvananthapuram

Kerala

Thiruvananthapuram is home to Malayalam cinema that makes ordinary human stories into extraordinary tales. The city has established itself at the forefront of the Indian parallel cinema movement.

hiruvananthapuram (formerly Trivandrum) is the capital of Kerala, a state in southern India. The city, along with Kochi, is the nerve centre of Malayalam cinema. Although films were made in the state during the silent era, cinema in Kerala was slow to develop, with only a handful of Malayalam films produced by the time India gained independence in 1947. However, when the film industry in this region of the country took off in the 1950s, it not only quickly caught up with the rest of Indian cinema, but it also established itself at the forefront of the Indian parallel cinema movement. Malayalam film superstars Mohanlal and Mammootty are well-known throughout the country, and directors such as Adoor Gopalakrishnan, Shaji N. Karun, and the late G. Aravindan are honoured at international film festivals. When Malayalam cinema began to grow into a full-fledged industry after independence, it was headquartered in Chennai. It wasn’t until the late 1980s that it was completely relocated to its current location in Thiruvananthapuram.

Recently, the Kerala government is mooting a plan to enter into the online content streaming space to provide a space for lower budget films without them having to worry about viability. The State government has also launched the initiative for women directors as part of making the film industry more genderinclusive. Fiscal incentives are available to regional films, full length feature film, children’s films and documentary films produced in Kerala under the state’s Film Policy.

The Chitranjali Studio under Kerala State Film Development Corporation with 70 acres of land is located near Kovalam Beach and other tourist locations. The studio has state of the art pre-production, production and postproduction facilities. Another film studio is the Kalabhavan Digital Studio, in Thiruvananthapuram, is a division of Chitranjali Studio offering production facilities for TV programs.

Malayalam cinema, like other Indian cinemas, is divided into a popular genre and a socially relevant strand. Kerala cinema rose to national and international prominence as a result of the films made by Adoor and Aravindan in the 1970s and 1980s. To this day, the tradition of creating realistic and meaningful cinema continues. While other film industries were busy creating superstars, Malayalam cinema served up ordinary human stories that cinema has often pushed to the margins. The success of Malayalam cinema is based on combining commercial elements with contemporary storytelling. Rather than providing an escape, cinema forced us to confront caste oppression, urban loneliness, sexual inequality, gender violence, and economic struggles. Filmmakers like Lenin Rajendran created indie films in Malayalam cinema when many people had no idea what the term meant.

India Film Guide 2022

Kerala cinema rose to national and international prominence as a result of the films made by Adoor and Aravindan in the 1970s and 1980s. To this day, the tradition of creating realistic and meaningful cinema continues

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Film in India

Kolkata

Bangalore

Karnataka

West Bengal

Popularly known as India’s Silicon Valley, Bangalore is also the base of Kannada cinema. The State government has established India’s first AVGC centre of excellence, complete with a post-production lab and cutting-edge technology.

Known across the world for celebrated masterpieces of Satyajit Ray, Bengali films are produced in Kolkata from studios located largely in Tollygunge in the city’s southern suburbs. Many of the pioneers of early Indian cinema worked in this city.

annada films are produced in Bangalore, India’s Silicon Valley. The first Kannada film was produced during the talkie era, and the industry grew steadily until the late 1940s. Dr. Rajkumar’s popularity as a lead actor in mythological epics helped Kannada cinema reach new heights in the 1950s. The 1970s and 1980s are widely regarded as Kannada cinema’s golden era, enriched by the work of directors such as B.V.Karanth, Girish Karnad, and Girish Kasaravalli. Samskara, based on a novel by celebrated writer U.R. Ananthamurthy and directed by Pattabhi Rama Reddy, launched the Karnataka parallel cinema movement in 1970. While alternative cinema has thrived in the state, commercial cinema has also thrived despite not having the financial clout of Tamil and Telugu films. The Karnataka Animation Visual Effects, Gaming, and Comics Policy (KAVGC) 20172022 was developed by the state to address skill development, infrastructure growth,

ecosystem expansion, marketing support, and financial concessions and incentives. The policy has encouraged exports by attracting global production, while also encouraging indigenous productions such as original IP and short films, as well as start-ups in areas such as game development, virtual reality, augmented reality, and educational technology. In terms of infrastructure, the state has stated its intention to build a world-class AVGC infrastructure. Karnataka has established India’s first AVGC centre of excellence, complete with a post-production lab (including an incubator, game testing facilities, a render farm, and so on) and cutting-edge technology. Bengaluru International Film Festival (BIFFESl), Innovative International Film Festival, Abstract Synergies International Short Film Festival, and Karnataka State Film Awards are all organised by the state to promote filmmaking.

India Film Guide 2022

engali-language cinema, known the world over for the celebrated masterpieces of Satyajit Ray, is produced in Kolkata from studios located largely in Tollygunge in the city’s southern suburbs. Many of the pioneers of early Indian cinema worked in this city in the silent era. In fact, Hiralal Sen is known to have made films here well before India’s officially recognized first full-fledged fiction film, D.G. Phalke’s Raja Harishchandra, was screened in Mumbai. Commercial Bengali cinema has thrived right since the silent era, barring a few troughs in the 1980s and 1990s caused by the death of its most luminous superstar Uttam Kumar and the retirement of his on-screen partner Suchitra Sen. But it is for the critically acclaimed works of three masters – Ray, Ritwik Ghatak and Mrinal Sen – that Kolkata enjoys global fame. Directors such as Tapan Sinha and Tarun Majumdar built their careers around films that struck a fine balance between artistic merit and commercial potential.

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More than their counterparts in any of the other film production centres of India, screenwriters and directors in Kolkata, especially those that work in the nonmainstream sphere, continue to draw inspiration primarily from literature. It is a tradition that dates back to the silent era, a period during which Bengali cinema, unlike other cinemas that were beginning to take roots in that period, produced social satires and dramas adapted from literary works rather than mythological epics. The West Bengal government is considering opening a single window to process requests to shoot movies in the state, saving producers the trouble of knocking on the doors of multiple agencies. In order to ensure the overall development and promotion of the Bengal film industry, the government has issued a notification for the establishment of the West Bengal Film Academy (WBFA).

Film in India

Lucknow

Delhi

Uttar Pradesh

National Capital Region

Many films have been shot in Uttar Pradesh over the years, with the majority of them taking place in the capital city of Lucknow. From its vibrant culinary scene and exquisite historical monuments to its rich art and culture and remnants of colonial charm, the city of nawabs, as it is colloquially known, is as warm as its people.

Delhi is a top priority for filmmakers and directors due to its abundance of beautiful locations and rich cultural heritage. Filmmakers shooting in Delhi get shots of everything from Old Delhi, monuments, and Lodhi Garden to the high-rises and farmhouses of Noida and Gurgaon.

ttar Pradesh is the rainbow land where the multi-hued Indian Culture has blossomed from times immemorial. The bustling city of Lucknow, the capital of Uttar Pradesh, retains its essence of grandeur in its kaleidoscopic experiences as a melting pot of art, culture, cuisine, and architecture. From its vibrant culinary scene and exquisite historical monuments to its rich art and culture and remnants of colonial charm, the city of nawabs, as it is colloquially known, is as warm as its people. Many films have been shot in Uttar Pradesh over the years, with the majority of them taking place in the capital city of Lucknow. From Satyajit Ray’s classic Shatranj Ke Khiladi to Rekha’s iconic film Umrao Jaan to more recent films such as Atrangi Re, Satyameva Jayate 2, Mukkabaz, Saand Ki Aankh, Mulk, and Article 15, the city’s culture, history, and various landmarks have been showcased in various ways. At the 52nd International Film Festival of India, Uttar Pradesh was named the “Most Friendly State for Film Shooting.” The state government has announced a new Film

Policy with the sole purpose of projecting the country’s cultural, mythological, historical heritage, and glorious traditions not only within the country, but also internationally through widespread publicity. The Film Bandhu, Uttar Pradesh has been established as a nodal agency to ensure the availability of all film productionrelated facilities under one roof. The Uttar Pradesh government offers a maximum subsidy of Rs. 1 crore for films that have spent at least half of their total shooting days in Uttar Pradesh. Furthermore, units doing outdoor shooting in the state will receive a 25% discount on room rent when staying in UP State Tourism Development Corporation hotels/motels. A Film Development Fund has been established in order to finance films in the state. A Single Window Clearance System has also been established to facilitate the receipt of subsidies for films shot or to be shot in Uttar Pradesh. In addition, the state government has announced the establishment of a film city on 1000 acres of land near Noida in the Delhi NCR. A film institute will also be established in the film city. India Film Guide 2022

ndia’s capital, with its unique historical and cultural heritage, has served as the backdrop for many iconic films, television shows, and web series. The city is home to three World Heritage sites: the Qutub Minar, the Red Fort, and Humayun’s Tomb. Delhi is a top priority for filmmakers and directors due to its abundance of beautiful locations and rich cultural heritage. In addition to the availability of new talent, lower production costs, international connectivity, and improved infrastructure, there are over 200 locations to shoot at. Filmmakers shooting in Delhi get shots of everything from Old Delhi, monuments, and Lodhi Garden to the high-rises and farmhouses of Noida and Gurgaon. The Noida Film City in Delhi’s National Capital Region, established in 1988 to boost the film industry in Uttar Pradesh, is a thriving filmmaking centre. This film city has several film studios owned by well-known film and television producers and covers an area of approximately 98,600 square metres, or approximately 100 acres. Some of the most popular organisations at Noida Film City include the Asian Academy of Film and Television, Asian School of Media

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Studies, International Film and Television Club, International Film and Television Research Centre. The Delhi government recently approved the Delhi Film Policy, 2022, which aims to promote the city as a filming and other related activity hub through a variety of measures, including the creation of a Rs 50 crore ‘Delhi Film Fund’ to assist producers and the annual hosting of an international film festival. A single-window e-film clearance portal will be prepared under the policy, bringing together over 25 agencies for various film production permissions. The government also intends to issue Delhi film cards, which will provide additional benefits and discounts. The tourism department will provide a Delhi film card worth Rs 1 lakh. It will assist film producers in obtaining additional discounts from industry stakeholders such as accredited hotels, transportation providers, and tourism operators. A subsidy of up to Rs 3 crore will be provided under the policy, depending on the number of days of shooting, the location and branding of Delhi, the local hiring of actors and support staff, and expenditure in Delhi at various stages of production.

Film in India

Bhubaneswar Odisha

Madhya Pradesh

All feature films produced fully or partly in Odisha are exempted from entertainment tax; and producers of films who utilize the facilities here are eligible to get incentives in the shape of subsidy.

The city has served as the backdrop of many feature films from B R Chopra’s famous social thriller Naya Daur to Prakash Jha’s political drama Rajniti, Anusha Rizvi’s Peepli Live, to social drama Aarakshan starring Amitabh Bachchan.

n the eastern Indian state of Odisha, films are made in Bhubaneswar and Cuttack. The first Odia-language film was made in 1936, but until the 1950s only a handful of more titles were produced. Back then, the Odia film industry did not have production facilities of its own. Films in the language had to depend on Kolkata, which made moviemaking in Odisha difficult and unviable. In the late 1950s, the first cooperative venture to produce, distribute and exhibit Odia films was set up by Krushna Chandra Tripathy. The organization was named Utkal Chalachitra Pratisthan, and it produced several films in the 1960s that gave Odia cinema a distinct identity. In 1961, another production house, Pancha Sakha, was set up by amateur artiste Dhira Biswal, who produced four hugely popular films. His first production, Nua Bou, created a sensation all across the state of Odisha. Odia cinema developed its own idiom in subsequent years thanks to the efforts of the husband-wife team of Gour Prasad Ghosh and Parbati Ghosh. The duo produced several

Bhopal

National Award-winning films, including the epochal Kaa. Other production houses took roots in the 1970s, including Diamond Valley Productions, set up by entrepreneur Sarat Pujari. In 1975, the state government stepped in to promote cinema by setting up the Odisha Film Development Corporation (OFDC). Five years later, the Kalinga Studio came up with the support of Chennai’s Prasad Studios. Odisha currently produces an average of 20 films a year. OFDC is the nodal organization for providing single window clearance for shooting feature films in Odisha. The incentives offered by the state include assistance of Rs. 10 crores to filmmakers for making the first three Hindi or international language films. All feature films produced fully or partly in Odisha are exempted from entertainment tax; and producers of films who utilize the facilities of Kalinga Studio Limited, Film & Television Institute of Odisha and Kalinga Prasad Colour Processing Laboratory are eligible to get incentives in the shape of subsidy. India Film Guide 2022

he capital city of Madhya Pradesh, the winner of Indian government’s national award for the Most Film Friendly State in 2017, has served as the backdrop of many feature films from B.R. Chopra’s famous social thriller Naya Daur to Prakash Jha’s political drama Rajniti, Anusha Rizvi’s Peepli Live, to social drama Aarakshan starring Amitabh Bacchan. The state has made considerable efforts towards easing filming in the state by creating a well-structured website, film friendly infrastructure, offering incentives, maintaining databases, undertaking marketing and promotional initiatives. Initiatives taken by the state for simplification of film production include appointment of Madhya Pradesh State Tourism Development Corporation (MPSTDC) as the nodal agency for film shooting clearance, incentives and subsidies in the state. The tourism department also coordinates with other departments to obtain legal mandatory permissions needed

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for producers. MPSTDC offers discounts at state owned hotels and free of charge shooting at selected locations. The state also offers capital investment subsidies ranging from Rs 3-5 crores for creation of infrastructure along with installation of equipment to establish film studios, film making, museum, aquarium, and theme parks. From the perspective of favorable film policies adopted by states, Madhya Pradesh has recently come up with a dedicated film facilitation cell to work as a nodal agency that would ease out the shooting permissions through a single window clearance system, according to a senior Madhya Pradesh Film Facilitation Cell official. The state offers incentives across the board, to all kinds of shootings, whether these are films, documentaries, webseries, or OTT platforms. And then there is provision for certain special incentives if the state is promoted from the tourism point of view.

Film in India

Dehradun

Patna

The city serves as a gateway to several popular hill stations such as Mussoorie and Chakrata, as well as pilgrimage sites such as Haridwar and Rishikesh. Several Bollywood films have been shot here.

Patna is home to a thriving Bhojpuri film industry. The state government has expressed its desire to expand the industry by investing in a film city in Rajgir, Nalanda district, 70 kilometres southeast of Patna.

Uttarakhand

ehradun, the capital city of Uttarakhand, is one of the most popular tourist destinations in the country, surrounded by high mountains and lush Sal forests. The city serves as a gateway to several popular hill stations such as Mussoorie and Chakrata, as well as pilgrimage sites such as Haridwar and Rishikesh. Several Bollywood films have been shot in Dehradun and Mussoorie, including Farhan Akhtar’s Lakshya, Karan Jauhar’s Student of the Year, Pan Singh Tomar, and Rituparno Ghosh’s The Last Lear, among others. At the 66th National Film Awards, Uttarakhand was named the most filmfriendly state. The Uttarakhand Film Development Council is the nodal agency for obtaining all shooting permits via a Single Window Clearance system.

The state government also provides incentives in the form of no entertainment tax for indigenous films, children’s films produced by the National Centre of Films for Children and Young People (NCYP), and national and international awardwinning films. Any filmmaker can shoot in Uttarakhand for free, and there are numerous financial incentives available for films made in Uttarakhand’s regional languages/ dialects. The Uttarakhand government is also focusing on the development of a film city in a specific location, as well as the selection and development of outdoor shooting locations. Nainital, Dehradun, Mussoorie, Ali Bugyal, Ranikhet, Chopta, Auli, Almora, Gwaldam, Chamoli, Munsiyari, and Rishikesh are among the popular shooting locations.

Bihar

ihar’s capital city, located halfway between humid West Bengal in the east and sub-humid Uttar Pradesh in the west, is home to a thriving Bhojpuri film industry. Ganga Maiyya Tohe Piyari Chadaibo (Mother Ganges, I Will Offer You a Yellow Sari), the first Bhojpuri-language film, was released in the early 1960s. However, the industry expanded steadily as demand from people speaking the dialect in India and elsewhere increased. Bhojpuri cinema, which also serves third and fourth generation migrants in Surinam, Mauritius, Trinidad and Tobago, Fiji, and Guyana, has its own star system and a dedicated audience base, but it has yet to capitalise on opportunities to break into the national mainstream. The last few decades have seen a significant increase in the production of Bhojpuri films, but these have all been routine potboilers aimed at an undemanding and easy-to-please audience. Manoj Tewari and Ravi Kishan are industry brands and the sole runners of the show until 2014, when releases like Nirahua Hindustani and Patna se Pakistan entered the market

India Film Guide 2022

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in 2014-2015 and completely changed the market. The industry saw a turnaround when the highest grosser began pooling in close to Rs 10 crores. The leading actors in the industry include the likes of Pawan Singh, Dinesh Lal Yadav, Khesari Lal Yadav and Madhu Sharma, Amrapali Dubey, and Kajal Raghwani. Film budgets have steadily risen over the years. While local producers expand their operations, businessmen and Bihari expats from Nepal, Mauritius, and Fiji islands have also given the Bhojpuri Film industry a shot in the arm by investing heavily in it and betting heavily on its success. These films remain extremely popular in parts of India where Bhojpuri speakers live and work. However, because most of these films are made on a shoestring budget and in a hurry, they are often lacking in technical acuity. The state government has expressed its desire to expand the industry by investing in a film city in Rajgir, Nalanda district, 70 kilometres southeast of Patna, and organising film festivals to showcase the industry’s creative output.

Film in India

Ranchi

North East India

The city is located on the Ranchi Plateau of the Chota Nagpur plateau system. The plateau’s edge is marked by an escarpment to the east and south of the city, from which several scenic waterfalls cascade. Ranchi is a melting pot of tribal cultures, indigenous art, and an abundance of oral traditions.

Northeast offers a string of places for film production Guwahati, Imphal, Gangtok, Shillong, Agartala, Aizawl and Kohima. Opportunities and incentives are aplenty to make movies in so many scenic locales in the north-eastern states.

Jharkhand

anchi is the capital of Jharkhand, which was formed in 2000 from the southern part of Bihar. The city is located on the Ranchi Plateau of the Chota Nagpur plateau system, with lofty flat-topped hills (pats) to the northwest. The plateau’s edge is marked by an escarpment to the east and south of the city, from which several scenic waterfalls cascade. Ranchi is a melting pot of tribal cultures, indigenous art, and an abundance of oral traditions. Jharkhand Film Development Corporation Limited is the body responsible for carrying out the Jharkhand Film Policy, 2015. JFDCL has a single window film facilitation cell called SIWCOF (Single Window Committee for Films) that helps film production by providing timely shooting approvals and ensuring that filming goes smoothly. This committee also makes recommendations on the approval of films for subsidy as well as the amount of subsidy.

Post Jharkhand Film Policy 2015 the state witnessed flurry of film making and as of now more than 50 films have already been made and almost same numbers are in different stages of production. Some well-known films 42

shot in Jharkhand include Gangs of Wasseypur, Ranchi Diaries, A Death in the Gunj, National Award winning film Chhuti (A Vacation), among others. Jharkhand offers incentives such as a grant of up to 50% of the total cost of making films in Jharkhandi languages and a grant of up to 25% of the total cost of making films in Hindi, Bangla, Oriya, and other languages. There is also an exemption from entertainment tax for films produced or acquired by the Children Film Society, National Award winners, best Indian film in an international festival, documentary films produced by the Central Government’s Film Division, and so on. Among the initiatives taken by Jharkhand to promote films are: a single table system for the successful implementation of film policy and to provide better facilities to those involved in film production; and security arrangements for film production. The state government intends to establish a Film City in Patratu, Ranchi, and has already identified 200 acres of land for the purpose. India Film Guide 2022

Guwahati Guwahati, the capital of Assam, the land of blue hills and red rivers, the state is the gateway to the north-eastern states and has been aptly described as the Sentinel of Northeast India. Assamese films, produced in northeastern city of Guwahati, are a constant presence in India’s National Awards. Today, many Assamese films carry the neo-realist practice of Jahnu Barua, but in a refurbished way. There have been few films which look back at the Insurgency torn time of Assam. Jaicheng Dohoutia’s Handuk, Reema Borah’s Bokul are prominent two in this thematic classification. There have also been a resurgence of films in different languages rather than just Assamese. Rabha, Mishing, Bodo, Moran, Karbi- all of these languages are now getting a place in films. Constantly under the shadow of Bollywood films, the state has not been able to develop a distribution and exhibition system that can prop up locally made films and make them viable.

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At the turn of the millennium, a ray of hope had emerged in the form of a spurt in Bollywood inspired Assamese melodrama that found takers among the mass audience in the state. But the trend was short-lived. Despite the effort of the pioneers and the work of their successors in the 1950s and 1960s (Bhupen Hazarika, Nip Barua, Pudum Barua), Assamese cinema has been dragged down by the paucity of exhibition outlets. Despite all the odds, the names of the late author and filmmaker Bhabendra Nath Saikia and the still-active Jahnu Barua shine bright. In recent years, Rima Das, working largely out of her native village near Guwahati, has made massive waves globally with her films Village Rockstars and Bulbul Can Sing. Few more filmmakers who are creating new modes of expression are Bhaskar Hazarika, Deep Chowdhury, and Kenny Basumatary.

Film in India Imphal Imphal is the epicentre of Manipuri cinema, which has been around for five decades. However, in such a short period of time, it has made a significant impact, with many of its feature and documentary films winning numerous national and international awards. The first Manipuri feature film, Matamgi Manipur, was released in 1972. In comparison to the multi-crore films made in Mumbai and other parts of the country, the average investment for a Manipuri film is very low. The people of the region, on the other hand, are proud of the quality of Manipuri films. Imagi Ningthem established Manipuri cinema on a global scale. The film, directed by Aribam Shyam Sharma, won the Grand Prix at the Festival of Three Continents in Nantes in 1982 and the Best Child Actor award at the National Film Festival in 1982. Another Manipuri feature film, Ishanou, won a special mention award for the main actress - Official selection in the Uncertain Reard section of the Cannes International Film Festival, France, in 1991. This film was also nominated for a National award in 1991. Pebet, a Manipuri short film, won Best Short Film (Non Fiction) at the 1985 International Short Film Festival in Calcutta (now Kolkata). Sangai, the dancing deer of Manipur, won five awards at the 12th International Wildlife Film Festival in 1989, including (1) Artistic Excellence in choreography, (2) Interpretation of an Animal’s Spirit, (3) delicate depiction of wildlife, (4) Fostering cultural perspective

Film in India of conservation, and (5) Inter relationship between animals and humans. Deer on the Lake, a 16mm documentary film, won another merit award at the same festival. The apex body of Manipuri cinema, Film Forum Manipur, was established in 2005 which has been working towards the upliftment of Manipuri cinema since then. Understanding the potential of Manipuri cinema and the economic prospect of it as an industry, the state government has come up with ‘The Manipur State Cine Policy, 2020’. The policy envisages establishment of a visual industry/film city, comprising content creation centres for gaming, advertisements, animation, television programming and production and post-production studios and labs. Creation of a single window for processing permission and licenses for all film related activities to ease carrying out film related activities, including easing filmmaking in Manipur for outside film crews and immediate steps for reviving cinema halls with state-of-art technology are among other goals of the policy. To mark the Golden Jubilee Celebrations of Manipuri Cinema, Manipur launched its own Eikhoigi Imphal International Film Festival (EIIFF) in April 2022, which showcased 11 feature films, 8 non-feature films and 1 short film.

India Film Guide 2022

Gangtok

Agartala

Capital of Sikkim, which has its own brief history of cinema, has attracted prominent filmmakers such as Satyajit Ray and Dev Anand. Sikkim was named the ‘Most Film Friendly State’ of India in 2019 at the 67th National Film Awards. The state has made several appealing provisions to create a welcoming filming environment for producers, directors, and local filmmakers.

Agartala is the capital of Tripura, a landlocked hilly state in north-east India, with elevations ranging from 15 to 940 metres above sea level, though the vast majority of the population lives on the plains. The state would make an excellent backdrop for an adventure film in which the jungle plays an important role. Tripura is a state full of surprises, with five mountain ranges—Boromura, Atharamura, Longtharai, Shakhan, and Jampui Hills—that are ripe for exploration.

The state is also working to establish a film city. In recent years, the state, particularly the picturesque northern district, has served as the ideal backdrop for several Bollywood and regional films. Sikkim provides all permits/permissions and paperwork through a single window system. The state government has also identified, catalogued and developed promising potential shooting locations, which have aesthetic and cinematic appeal.

Shillong Meghalaya, or the Land of Clouds, is still a virgin territory ripe for film production. In order to improve its infrastructure, the state recently agreed to join the Mumbai Academy of the Moving Image (MAMI) and aspires to become a preferred location for filming. The state’s top attractions include waterfalls, caves, rainforests, hill stations,

The policy envisages establishment of a visual industry/film city, comprising content creation centres for gaming, advertisements, animation, television programming and production and post-production studios and labs Cannes Film Market

Film in India and much more. The crystal clear water of Dawki’s Umngot River, the sacred forests of Mawphlang, and the world-famous living root bridges of Cherrapunji can form a beautiful backdrop for any film and captivate audiences all over the world.

Aizawl Aizawal is the capital of Mizoram, which is home to numerous tribes with a diverse set of religious practises. This small state, endowed with a diverse range of geographical features, provides excellent opportunities for filmmakers to explore its splendour. The scenery of Phawngpui Hills, Vantawang Falls, and Palak Lake is just waiting to be photographed. If interested filmmakers want to shoot in this picturesque state, the state government is ready to help with infrastructure and logistics.

Kohima

Film in India

INDIAN FILM SECTOR

location. The mountainous state in northeast India, bordering Myanmar, has enormous potential to become a filming destination, with the government making a concerted effort to implement film-friendly policies in order to attract outside shoots. The first Nagamese language film premiered recently at the Nagaland Film Festival. The film was shot entirely in Nagaland and is based on the inspiring story of Mhonbeni Ezung, the youngest recipient of the National Bravery Award for Children

Higlights from FICCI-EY Report 2022

AVGC hub in Northeast In an attempt to create an entrepreneurial ecosystem, STPI is now creating Centres of Excellence in Aizwal, Itanagar, Kohima, Gangtok and Agartala in North East. STPI has already set-up a CoE for start-ups working in IoT (Internet of Things) at Gauwahati, and another one at Shillong exclusively for animation start-ups.

Kohima, the capital of Nagaland, is known for its Hornbill Festival and music, and has much more to offer as a pristine shooting

Sikkim was named the ‘Most Film Friendly State’ of India in 2019 at the 67th National Film Awards. The state has made several appealing provisions to create a welcoming filming environment for producers, directors, and local filmmakers 46

India Film Guide 2022

Cannes Film Market

Film in India

INDIAN M&E

INDEX INR1.6 trillion size of Indian M&E

900 TV Channels

220 million TV Households

150 bn+ songs streamed online

700million

600 million

Internet User base

Smart Phone Users

500 mn Active social media users in India 48

1.4 bn Population of India

INR93 billion size of filmed entertainment

1.2 bn Mobile phone subscribers

INR720 billion size of television

761 mn Smart phone users in India

INR56 billion size of digital subscription

900 mn Internet subscribers

757 films released in 2021; maximum released in Telugu (204)

INDIAN M&E

INDEX M&E Sector Grew by

Films Grew by

17%

32%

510 mn Gamers in India

28% growth of Film segment

$100 bn Estimated industry size in 2030

170 films released on digital platforms

TV Grew by

Digital Media Grew by

$3 bn Film industry size

100 films released exclusively on OTT

21%

900 TV channels

80 million paid video subscriptions across 40 mn households

Animation&VFX Grew by

Films released exclusively on OTT

57%

100

50+ Streaming platforms 100 Number of films released directly in streaming platforms 69% Films released are in regional languages in OTT platforms India Film Guide 2022

Just 31% Hindi films released on digital platforms 9,423 is the screen count of India INR1 bn was the cinema advertising revenue in 2021 5 films joined INR1 billion club Cannes Film Market

Share of Digital Media in M&E

19%

Film in India

Indian Film Sector Embraces Great Reset As the COVID-19 pandemic has brought in major disruptions in the M&E business model, it is high time for the Indian Film sector to forego holding on to old ways of thinking and working, and prepare to engage with the world with a new set of rules to propel growth The Indian M&E sector has undergone some significant changes during 2021 as the country emerged from the COVID-19 pandemic. The COVID-19 global pandemic presented unprecedented challenges to the media and entertainment industry worldwide. Faced with isolation, consumers actively sought alternatives to keep themselves entertained. Thus, 2020 saw demand patterns shift with acceleration in digital media adoption aided by the growth of digital infrastructure. The supply side transformed, too, as M&E companies took the opportunity to reinvent. The pandemic has underscored that today content creation and storytelling are much more diverse and come from all parts of the country. New distribution models and monetization strategies are evolving across both large and small screens. Learning content and gaming have emerged as very large new opportunities. These changes are 50

driving a shift in monetization of content investments and this opportunity is global. It is expected that cinemas will evolve into “experience zones” to cater to top end multiplex audiences who watch movies for their spectacular experience and to enjoy an evening out with friends and family – a market that is estimated at around 100 million customers by 2025. In addition, a set of lower-priced “cinema products” are expected to emerge for the next 100 million audiences across the top 75 cities of India, which will also require a change to the type of content being produced for these audiences, and which could even see regional OTT products releasing in a windowed manner. Here is what FICCI-EY 2020 report on Indian M&E sector has to say on the performance, emerging trends and future outlook of filmed entertainment in India:

India Film Guide 2022

Filmed Entertainment Continues to Grow, Streaming Gains Traction (152) and only 84 films were released in Hindi language. South markets recovered faster due to fewer lockdowns, reaching 59% of 2019 release levels.

It was a subdued year for the filmed entertainment segment, with lockdowns and several restrictions on production and exhibition across states. In 2021, the filmed entertainment segment grew 28% but remained at around half its 2019 level. However, despite the restrictions, over 750 films were released during the year, as compared to just 441 releases in 2020.

Screen count was estimated at 9,423, a marginal decline over 2020. Some industry respondents believed that around 1,000 screens, which were at best open intermittently during the year, may not reopen again. PVR added 27 screens including a drive-in cinema at Jio World Drive (Mumbai) as against 69 screens added in 2019 whereas Inox Leisure added 41 new screens as against 69 added in 2019. Screen count grew in 16 states and fell in 13 states.

Over 100 films released directly on streaming platforms, a trend which seems here to stay for certain genres. A total of 757 films made it to the theatres in 2021 across languages. The highest number of films were released in Telugu (204) and Tamil

Filmed entertainment segment recovered 28% in 2021 2019

2020

2021

2022E

CY24E

Domestic theatricals

115

105

Overseas theatricals

Broadcast rights

Digital/ OTT rights

In-cinema advertising

Total

191

150

212

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Film in India

South Indian Films Dominate Box Office South Indian films, however, generated three times the box office revenues of Hindi films, with a total collection of INR24 billion on the back of more releases. There were five films that grossed INR1 billion or more at the box office in 2021 compared to 32 in 2019. Only one Hindi and one English language film could enter the INR1 billion club vis-à-vis three films in south Indian languages. Gross Box office revenues increased 57% in 2021 to INR39 billion. However, film exhibition still seems to be far off from the “old normal” in terms of box office revenues—it was just 34% of 2019 levels. The work-from-home and study-from-home that prevailed for over half the year impacted revenues; the impact was far worse in college and IT towns.

Given the expected scarcity of release windows once restrictions are removed on cinemas, it is expected that smaller films will find it more difficult to get windows and only those which are high on concept or have unique content may succeed in doing so. 151 films released overseas, contributing a gross box office collection of INR5.9 billion, thereby showing a growth of almost 50% as compared to 2020.

Growth in Digital, OTT Rights Continues Unabated Over 170 films were released on digital platforms in 2021, from large films priced at over INR1 billion to small regional films available for as little as INR15 million. This includes over 100 films which released directly on the platform without a theatrical release, a trend that has gained scale due to the pandemic. Of the films released on digital platforms, only 31% were in Hindi while 69% were in other languages, primarily south Indian languages.

of producers felt that theatrical releases were critical for high-budget films to generate adequate hype and marketing. Cinema advertising continued to fall With the dearth of film releases, and uncertainty in terms of film slate, in-cinema advertising continued to face pressure. It fell further in 2021 to INR1 billion and is only expected to scale once film slates are finalized with a certain degree of confidence.

The release windows also stayed low — for most large films that released in theatres, the digital release window was usually between 0 and 8 weeks – reducing the urgency to catch a film in its theatrical run. However, a number

India Film Guide 2022

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Film in India

Future of Cinema Experience Set for Overhaul As theatres opened in 2021, it was heartening to see that audiences returned in significant numbers – clearly showing that the “cinema experience” is something that is cherished. It is expected that the filmed entertainment segment would recover its 2019 levels – assuming there is no further impact of the pandemic – by end 2023. Theatrical revenues will continue as the dominant revenue contributor of the filmed entertainment segment as people return back to cinemas, but with a few changes: •

Top-end cinemas will become premium experience zones

•

“Janta cinemas” will come into existence for a lower priced but semi-premium experience across smaller towns and cities

•

Digital/OTT rights could grow to 32% of segment revenues due to increased uptake of OTT platforms and growing consumption of dubbed and subtitled content on OTT platforms. As TV audiences become more mass, the value of broadcast rights would dip from their pre-pandemic levels. International theatricals could reduce in importance from pre-pandemic levels if access to the key Chinese market is not freely given; otherwise too, Indian content may not find too many takers outside of first- and second-generation Indian diaspora, unless content changes significantly.

Talent will be sourced from the wider creator economy and library, character and personal rights could become extremely valuable, as it is not difficult to imagine people wanting to relive movies with their favourite actors playing characters all enabled by technology. Moreover, digital doubles could ‘virtually’ carry out activities such as performance, concerts, character replacement, metaverse avatars etc. It is expected that NFTs will become an additional monetization

opportunity. Secondly, remuneration models will become increasingly transparent as talent will be tagged to their ‘talent coin’ which will be measured in terms of ‘popularity to monetization’ ratios. Blockchain-based processes will enable transparent revenue sharing and perhaps, one day, irrefutable GBOC!

Consumer Insights to Drive Content Creators will create stories basis ready insights on what the consumer is looking to consume. Virtual production will transform the way content is created – from actors to environments. Creators will be able to give life to multiple threads to their story telling.

Industry needs to work together to restart cinemas which shut down during the pandemic as well as work with real estate developers to create miniplexes within residential complexes

Technology to Impact Creators in Big Way

length (or even the same ending) may be over. At one end, this would lead to more ‘tentpoles’ which could only be enjoyed in theatres to ‘customised and curated content’ delivered as “home entertainment”.

Content will curate itself based on the consumer profile and serve it; the days of everyone watching a movie of the same

India Film Guide 2022

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Film in India

FILM IN INDIA

Theatres to Evolve into Experience Zones Eventually, all films will be enabled across video, audio, text and experiential. For video exploitation, multi-platform (cinema + TV + OTT) will be the norm – what will need to be agreed by stakeholders are the windowing strategies. Theatres would evolve into experience zones — a place where multisensory content experiences could be had.

Unlock your narrative. Here we present a comprehensive shooting guide to Indian film locales

A multiplex may transcend from a facility housing 4-8 screens to smaller ‘houses’ with thematic content-based on consumer preference. Evolution of ‘rented seats’ or ‘rented houses’ as individuals/ families/ friends/ communities come together to consume content of their liking from a jukebox.

Attract, Sustain and Transact to be Future Norm Attract, Sustain and Transact--will be the norm going forward. A stands for attraction. AVOD business models will only work with low content cost, and these will be morphed in to marketing/ attraction tools. S stands for sustainable. SVOD will be key for sustainable business growth, with (unlike current models)

the need to link each content investment with new subscribers, or renewing subscribers. T stands for for transaction. TVOD will be crucial to increase monetization in “sachet friendly” India and for enhanced profitability through premium experiences.

India Film Guide 2022

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Film in India

India Rolls Out

Red Carpet

to Global

Filmmakers

India Film Guide 2022

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Film in India

Film Facilitation Office National Film Development Film Facilitation Office Corporation Ltd

National Film Development The Film Facilitation Office (FFO) of the Ministry of I&B, corporation Ltd

Government of India is housed under the aegis of the National The Film Facilitation Office (FFO) of the Ministry of I&B, Government Film Development Corporation (NFDC). Its web portal of India is housed under the aegis of the National Film Development https://ffo.gov.in/en is India’s single window clearance and Corporation (NFDC). Its web portal https://ffo.gov.in/en is India’s facilitation mechanism for international Feature Films, Reality single window clearance and facilitation mechanism for international TV & Web shows/series, Commercial TV Serials/Shows and Feature Films, Reality TV & Web shows/series, Commercial TV Serials/ Web Shows/Series that film in India. The FFO’s services Shows and Web Shows/Series that film in India. The FFO’s services also include easing and facilitation of filming for domestic also include easing and facilitation of filming for domestic filmmakers filmmakers including enabling them to navigate the various including enabling them to navigate the various challenges that they challenges that they face while shooting across the country. face while shooting across the country. Further in 2021, FFO’s mandate has been expanded to include Further in 2021, FFO’s mandate has been expanded to include creation creation of an ecosystem that shall facilitate various approvals/ of an ecosystem that shall facilitate various approvals/clearances clearances required in setting up of theatres and execution of required in setting up of theatres and execution of events by Event events by Event Management Agencies at State and National Management Agencies at State and National level. The aim of the level. The aim of the enhancement is enhancement is i. Increasing Screen Density - FFO to create an online i. Increasing Screen Density - FFO to create an online ecosystem ecosystem for approvals required in setting up of theatres, for approvals required in setting up of theatres, which will enable which will enable submission of applications across States and submission of applications across States and its tracking A model law its tracking a model law for setting up of theatres may also be for setting up of theatres may also be drafted after consultation with drafted after consultation with Industry stakeholders. Industry stakeholders. ii. Positioning India as an Event Destination - FFO to create ii. Positioning India as an Event Destination - FFO to create an online an online ecosystem that will ease execution of events across ecosystem that will ease execution of events across the Country in the Country in consultation with the Industry body EEMA consultation with the Industry body EEMA iii. Given that Incentives shall be announced by the Ministry iii. Given that Incentives shall be announced by the Ministry for for international productions in India, the FFO shall be international productions in India, the FFO shall be responsible for the responsible for the disbursal ecosystem and its Guidelines. disbursal ecosystem and its Guidelines.

www.ffo.gov.in 60

India Film Guide 2022

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Film in India Easing of Doing Business with regards to Film Shooting Permission for both Domestic and International Filmmakers 1. Ease of doing business with regard to film shoots. In this regard, it is pertinent to state that the FFO has implemented certain modifications in its web portal, which will further ensure ease of filming in India. These are: • The application form of FFO has been further simplified and made user friendly for both domestic and international projects • A Document checklist is also being made available in the applicant’s dashboard. This enables the applicant to be prepared with all the required documents that needs to be uploaded as a part of the application. • Incentive Tracking Mechanism has been executed. Applicants need to fill in a form that will enable the FFO to track the status of disbursement of the incentive from the State Governments, on behalf of the Applicant. • A Shooting Permission Redressal / Resolution Mechanism has been put in place. A form filled in by the Applicant allows the FFO to intervene on behalf of the applicants and ensure the filming process is smooth and easy. Processing of 138 International Applications since 2016 - 138 international projects (Feature Films, TV/Web shows and series) from across

Film in India 33 countries were accorded permissions to film in India. i. Some of the mentionable projects - Dhaka/Extraction, Desert Dolphin/ Skater Girl, A Suitable Boy directed by Mira Nair, Christopher Nolan’s Merry Go Round/Tenet, The Bear and The White Tiger. ii. Out of these, 13 projects were granted official co-production status by the Ministry of I&B. Some of the mentionable projects include Bangabandhu, Last Film Show, Noah’s Ark, Mia & Me- The Hero of Centopia, The Extraordinary Journey of the Fakir, Sir, Union Leader. Easing Permission Process for Indian Filmmakers - Filming permissions for 79 domestic projects were facilitated through the FFO portal since April 2019. Some of the mentionable names are Tamil Feature Films Bigil, Soorarai Pottru, Gujarati Feature Film The Last Film Show, Hindi Feature Film Satellite Shankar, Jersey, Badhaai Do, Tejas, and TV/Web show/series The Railway Men by Yashraj Films and TV/Web show/ series by established production houses such as Roy Kapur Production, Balaji Telefilms, etc. Introduction of a Separate Category of Visa called Film (F) Visa – The F Visa, which is valid for one year, with multiple entry facility has simplified entry of international filmmakers, cast & crew to film in India. It was subsequently

India Film Guide 2022

Friendly State (MFFS) award was instituted modified to include web shows/series i. Out of the 138 international projects, under the National Film Awards in 2015 and location recce and ease visa norms 82 have completed shooting in India Links regarding co-production to Relevant encourage States to create film friendly – for foreign filmmakers regarding FRRO/ ii. Data on money spent was received environment. So far Gujarat (2015), FRO. Since 2016, 1265+ F Visas have been 1. Apply online on www.ffo.gov.in Uttar informally from 69 projects Pradesh (2016), Madhya Pradesh (2017), issued. 2. Application Process - https://ffo.gov.in/ iii. Approximately INR 412.49 crores has (2018) and Sikkim (2019) have Economic Value Added Through Facilitation Uttarakhand en/permissions/step-by-step-guide been spent in India by these 69 projects received the award. of Permissions - INR 412.49 crores since 3. For queries on co-production please iv. Over 29,000 people were employed in FY 2016-17 write to – ffo@nfdcindia.com these productions. i. Out of the 138 international projects, 4. Postal Address – Integration of FFO and Archaeological 82 have completed shooting in India Survey of India (ASI) Web Portals - The ii. Data on money spent was received integration has enabled a filmmaker to Film Facilitation Office informally from 69 projects apply and get filming permission in ASI Ministry of Information and Broadcasting, iii. Approximately INR 412.49 crores has owned monuments through the FFO. This PAY FEES SUBMIT National Corporation Ltd. been spent in India by these 69 projects Relevant Film Links Development regarding co-production – is a step towards creating a single window APPLICATION 4th Soochna Bhavan, Phase -1 iv. Over 29,000 people werevarious employed in 1. Floor, Apply online on www.ffo.gov.in ecosystem for filming across FORM these productions. CGO Comples, Lodhi Road, New Delhi heritage sites/monuments.

FPO

2. Application Process - https://ffo.gov.in/en/

Integrationwith of FFO and Archaeological Integration Ministry of Railways to SurveyanofOnline India (ASI) Web Portals create Application System- -The The integration has enabled a filmmaker to FFO has successfully developed an online apply and get filming permission ASI filming permission system for the in Railways. owned monuments throughfilmmakers the FFO. This Domestic and International is anow stepapply towards creatinginaareas singleunder window can for filming ecosystem filming across various the Railway’sfor jurisdiction across India, heritageFFO sites/monuments. through portal.

Tel –permissions/step-by-step-guide 91 11 24367338

3. For queries on co-production please write to – ffo@nfdcindia.com

4. Postal Address –

Film Facilitation Office Ministry of Information and Broadcasting, National Film Development Corporation Ltd. 4th Floor, Soochna Bhavan, Phase -1 Integration with Ministry of Railways to application Most Film Friendly State (MFFS) Award An Submit the CGO Comples, Lodhi Road, New Delhi createthe anMinistry Online Application System under of I&B - Most Film- The fee of INR Tel – 91 11 24367338form on your

FFO hasState successfully developed online Friendly (MFFS) award was an instituted equivalent to USD filming permission system for the Railways. under the National Film Awards in 2015 225 needs to be Domestic andStates International to encourage to createfilmmakers film friendly paid online. (For can now apply areas under environment. Sofor farfilming Gujaratin(2015), Uttar the Railway’s jurisdiction across India, International Pradesh (2016), Madhya Pradesh (2017), through FFO portal. Uttarakhand (2018) and Sikkim (2019) Productions) have received theFriendly award. State (MFFS) Award The fee is Most Film under the Ministry of I&B - Most Film non-refundable

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own or through an Indian Representative / Line Producer

Film in India

Online Permission Ecosystem

2 3

Fill up National Permission form

Pay fees of INR equivalent to USD 225

International filmmakers can register and apply through the FFO portal, www.ffo.gov.in, to obtain all Central and State Government permissions. Here is the easy eight-step guide for International Filmmakers Seeking A National Permit To Film In India

Upload synopsis & script, details of shooting locations in India, period of shooting, cast /crew details with passport, list of equipment to be temporarily imported for filming, agreement between Indian and foreign party in case of a co-production, NOC in case of portrayal of a living personality in the film

Application received by FFO and script sent for evaluation

Post the script evaluator’s clearance of the script, application processed for permission

7 Producer may apply for Film (F) Visa with Indian Missions/posts abroad

India Film Guide 2022

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Once approved, permission can be downloaded from the portal

8 65

Film in India

Foreign Films Shot in India Notable projects which were accorded permission to shoot in India (2018-22)

11. Sir (Indo- French Co-production) film directed by Rohena Gera. The movie stars Tillotama Shome and Vivek Gomber and was produced by Rohena Gera and

Feature Film 1. The Braid - An adaptation of the book by the same name by Laetitia Colombani which sold more than two million copies worldwide and was translated in 40 languages. The film is also directed by Colombani . The India schedule was completed in April 2022. 2. Skater Girl (Desert Dolphin) directed by Manjari Makijany the film had a world premiere on Netflix in 2021. 3. Last Film Show - (Indo- French Co-production) directed by Pan Nalin which had a World Premiere at Tribeca Film Festival 2021 and was awarded the Audience Award Silver Tribeca. 4. Tenet (Merry Go Round )- directed by Christopher Nolan for Warner Bros featuring the Indian Actor Dimple Kapadia along with David John Washington and Robert Pattinson. 5. Extraction (Dhaka) – directed by Sam Hargrave featuring Indian actors like Randeep Hooda, Pankaj Tripathi along with Chris Hemsworth. The filmmakers recreated the city of Dhaka, Bangladesh in Gujarat, India. The film was released on Netflix in 2020. 6. The White Tiger - written and directed by Ramin Bahrani, the film 66

by the International Federation of Film Critics (FIPRESCI) and the Best Screenplay award. It was also screened at the 2020 Toronto International Film Festival, where it was named a winner of the Amplify Voices Award. The film is now streaming on Netflix.

is based on the 40th Man Booker Prize awarded book by the same title written by Aravind Adiga. 7. Enter the Girl Draaon - First official Indo – Chinese Co-production directed by Ram Gopal Verma. 8. Swords and Sceptre - The Rani of Jhansi – A 2019 feature film was cowritten, produced and directed by Swati Bhise. The film was screened at the British Film Festival and won the Impact Award at the Vancouver International Women in Film Festival 2019. 9. The Wedding Guest - Directed by Michael Winterbottom starring Dev Patel, Radhika Apte, Jim Sarbh and Harish Khanna. It had its world premiere at the Toronto International Film Festival in 2018. The film was shot in various parts of India such as Amritsar, Jaipur, Delhi and Goa. 10. The Disciple (Indian Classical Musical) - Indian Marathi-language drama film written, directed and edited by Chaitanya Tamhane. It was entered into the main competition section at the 77th Venice International Film Festival. The film also won FIPRESCI International Critics Prize presented

India Film Guide 2022

Brice Poisson. Sir had an initial release at the Cannes Film Festival followed by theatrical release in European countries in 2018. 12. The Extraordinary Journey of the Fakir (Indo- French Co production) - is a 2018 English-language French adventure comedy film directed by Ken Scott and starring Dhanush. It was also released in 5 different languages; English, French, Hindi, Tamil and Telugu.

TV/ Web Series 1. A Suitable Boy - Directed by Mira Nair for BBC television drama miniseries. The show was adapted by Andrew Davies from Vikram Seth’s 1993 novel of the same name. 2. The Bear (Shantaram)is an upcoming drama thriller television series based on the novel of the same name by Gregory David Roberts.

3. Beecham House – Directed by Gurinder Chadha, Beecham House is a British The six- The series, set in Delhi during the Mughal period, depicts the lives of the Beecham family in their newly bought house

Reality TV Series 1. The Amazing Race - The Amazing Race is an adventure reality game show franchise in which teams of two people race around the world in competition with other teams. 2. 90 Days Fiance’ - An American reality television series on Travel and Living Channel that follows couples who have applied for or received a K-1 visa, available uniquely to foreign fiancés of

Cannes Film Market

U.S. citizens, and therefore have 90 days to marry each other. 3. Indian Matchmaking – A reality TV series which is streaming on the OTT platform Netflix in which Matchmaker Sima Taparia guides clients in the U.S. and India in the arranged marriage process, offering an inside look at the custom in a modern era

Film in India

SHOOTING LOCALES IN INDIA

India has some of the most dramatic shooting locales -- snowy mountains, pristine islands, plunging ravines, dusty plains -- imagine the earth and get it. Here we present a comprehensive guide to incentives offered by various States and Union Territories across India Cannes Film Market

Film in India

Film in India These islands have created curiosity among the national as well as international film makers and they want to shoot films in these islands covering various places of tourist interest located in and around Port Blair and outside the Port Blair area. There is a long felt need to have consolidated guidelines/instructions issued by various departments and a single window permission system of granting permission to

film makers to promote the Ease of Doing Business for the film industry. In the proposed guidelines the procedure for granting permission for shooting of films has been simplified and a single window system has been proposed to be established by following existing guidelines/ instructions issued by different departments of the Andaman & Nicobar Administration and ministries.

Shooting Locales  C ellular Jail National

Memorial  Radhanagar Beach  Havelock Island  M ount Harriet And

Madhuban  Museum Circuit  R ajiv Gandhi Water

Sports Complex  North Bay Beach  Seafood

Andaman and Nicobar Islands The Andaman & Nicobar Islands in the Bay of Bengal are a rare gift of nature. The group of islands/islets spread over an area of 8,249 sq kms with tropical rainforest and beautiful unexplored beaches graded excellent by many film makers. Besides creeks, rich flora and fauna, marine life and under water corals are the dream destinations of tourists. The unique picturesque beauty of these islands has not only attracted tourists from all over the world but has made the islands one of the best tourist locales for shooting films. 70

India Film Guide 2022

Initiatives taken by Andaman & Nicobar Islands Directorate of Information, Publicity & Tourism (DoIPT) has issued guidelines to encourage film makers to shoot their movies in the Andaman & Nicobar Islands. 

 The guidelines also provide an outline to enhance the infrastructure required for promotion of film shooting and improve availability of skilled manpower required for facilitation of film shooting in the Islands by training local artist and creating infrastructures required for the purpose.

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The Island have single window clearance system for all the film shooting permissions in the region. 

 M ahatma Gandhi

Marine National Park  Diglipur  Chidiya Tapu  Ross Island  Neil Island  Baratang Island

DoIPT, Andaman & Nicobar Islands is the nodal department for granting permission for shooting of film on these islands. • DoIPT has also developed a fully integrated online application system to facilitate film shooting.

 Elephant Beach

Organisation of film events and festivals like the European Union Film Festival, Indian Panorama Film Festival and Monsoon Festival.

Directorate of Tourism, Andaman & Nicobar Administration Kamaraj Road, Port Blair - 744101



Alok Kumar, Director Directorate of Information Publicity and Tourism Email : thedirectortourism@gmail.com

Film in India

Film in India Incentives Offered by Andhra Pradesh  The Andhra Pradesh State Film Television and Theatre Development Corporation, which issues shooting permission, levies no charges on children film makers, who can shoot free of cost at public places.

ST of state government for low-budget (under Rs. 4 crore budgeted movies) Telugu films will be waived if the movie is shot in Andhra Pradesh and also charge for locations will not be levied. 

 Best 15 movies given Rs 10 lakhs each of subsidy.

Reimbursement of INR 500,000, lease rentals, power subsidies, etc., to makers of animation films. 

Reimbursement of production cost of an animation film or gaming product, (based on set guidelines/stipulations) up to a maximum of INR5 lakhs per film. 

Shooting Locales 

Hyderabad



Vishakhapatnam



Tirupati



Vijayawada



Nellore



Chittoor



Kurnool, among many others

Initiatives taken

Andhra Pradesh From sun-kissed beaches of Visakhapatnam to the temples of Vijayawada, the Indian Grand Canyon at Gandikota and the Araku Valley, where the clouds say hello to the hills, Andhra is a filmmaker’s dream come true. The state boasts of a naturally, ecologically, culturally and religiously rich and diverse variety of destinations that are treasures of visual treat. 72

India Film Guide 2022

 Animation, Media and Entertainment Policy (Policy) (2014–19).  Single window clearance for film makers.

Proposal to allot land for entrepreneurs for setting up of studios, film city, infrastructural units. 

 Allotment of more than 300 acres of land in Vizag near Ramanaidu Studio to build film studios.  Andhra Animation and City to be set up in Hyderabad

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Pradesh Gaming initially in an

appropriate extent of land by government through AP Industrial Infrastructure Corporation (APIIC).  Nandi Award Festival to encourage growth of film, television and theatre arts.  The state government also gives awards like NTR National Film Awards, B.N. Reddy National Film Awards, NagireddyChakrapani National Film Award and Raghupathi Venkaiah State Film Award.

Sesa Sai,

General Manager Film Development Corporation, Andhra Pradesh Email: apsftvtdc.fdc@gmail.com Andhra Pradesh State Film, Television & Theatre Development Corporation, NTR Administrative block, 4th Floor, Pandit nehru bus depot, Vijayawada – 520013.

Film in India

Film in India Incentives Offered by Arunachal Pradesh Nominal shooting fees of Rs. 500 per film for feature film. 

 The government is also giving subsidies of Rs. 5 lakhs each for the development of homestays.

Arunachal Pradesh angela lake-tawang-arunachal pradesh-1B8A9644

Shooting Locales 

Tawang



Roing



Bomdila



Ziro



Pasighat



Along

Initiatives taken

Tucked away in the north-eastern corner of India, Arunachal Pradesh has everything to offer a film crew. Adorned with unspoilt landscape, this northeast state of India is a place that every film maker would love to explore. A treasure trove of culture, rich history and warm people, Arunachal is a land that one cannot afford to miss. Beautiful landscapes and scenery, roaring and turbulent streams emerging from majestic snow-capped mountains, lush green forests, colourful tribes and hospitable people would make any filmmaker opt to shoot in the state. 74

India Film Guide 2022

 State offers single window clearance for film shooting in the state.  The Director, Information & Public Relations, Arunachal Pradesh is the competent authority to issue permission for shooting of films and TV serial in the state.  For shooting in Arunachal Pradesh, crew members require additional inner line pass for shooting in the state.

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 The government is also working to train, educate and raise awareness among all the stakeholders.

Film events and festivals organized by the state government include Arunachal Pradesh International Short Film Festival and Arunachal Pradesh International Ziro Music Festival. 

Takom Kena

Tourist Information Officer(HQ) Email : takomkena@rediffmail.com Directorate of Information and Public Relation Civil Secretariat, P.O. Itanagar -791111

Film in India

Film in India Incentives Offered by Assam  Cash grant amounting to 25% of the Qualified Production Expenditure (QPE) or Rs.1 crore, whichever is less. Number of films to be covered depends on budgetary provision for the year.  Additional grant of 10% on QPE, if the film’s storyline is on Assam’s culture/tourism/heritage.

Additional grant of 10% for shooting more than 50% of the entire shooting in Assam. 

Bhupen Hazarika Setu-tinsukia-assam-DJI_0294

Assam

One of India’s last great natural and anthropological sanctuaries which very few filmmakers have explored, Assam is home to hills, crisscrossed by major rivers such as the mighty Brahmaputra, Barak and their tributaries, roaring waterfalls, thick and dark forests, heavy rains during monsoon, innumerable varieties of flora and fauna, mysterious clouds, melodious folk music, thrilling dances and festivals, variety of many delicious dishes, hand looms and handicrafts. The land of blue hills and red rivers, Assam is the gateway to the north-eastern states and has been aptly described as the Sentinel of Northeast India. 76

India Film Guide 2022

The producers who have produced minimum 10 films in Hindi/English/Foreign language are provided free accommodation 

and transport for their important cast during the period of stay for shooting of films in Assam.  Financial assistance of minimum 30% for production of Assamese and local language films as per film grades (Category A films - INR 40 Lakh and Category B films - INR 30 Lakh).

Financial support to produce films on a public private partnership mode where the Assam State Film Finance and Development Corporation Ltd. (ASFFDC) would invest 60% and a private producer would invest 40%.

Film production falls under new tourism policy effective from January 2018 and valid for five years.  A single window clearance system to film makers, serial producers, documentary makers, etc.

A special incentive package in the form of logistic support within Assam has been provided to the film producers to kick start their arrivals. 

Cannes Film Market

     



Initiatives taken 

Shooting Locales

     

Guwahati Kaziranga National Park Manas National Park Kamakhya Temple Majuli Island Hoollongapar Gibbon Wildlife Sanctuary Kakochang Waterfalls Tocklai Tea Research Centre Nameri National Park Padam Pukhuri Haflong Lake Haflong Hill Panimoor Falls

Manash Thakur Assam Tourism organizes regional, national and international film festivals like Brahmaputra Valley Film Festival, CineASA Guwahati International Film Festival, Assam State Film Awards and Prag Cine Awards – North East in suitable tourist destinations to promote film tourism, with the assistance of cultural affairs department. 

Tourist information Officer Assam Tourism Development Corporation ltd. 4th Floor, Asom Paryatan Bhawan, A.K. Azad Road, Paltan Bazar, Guwahati – 781008 (Assam) Email- manas4tourism@gmail. com / atdcec@gmail.com

Monita Borgohain

Joint Secretary Cultural Affairs Department, Government of Assam Email- monitaborgohain@ yahoo.com Secretariat Road, Dispur, Guwahati - 781005

Film in India

Film in India Incentives offered by Bihar  Films made in state languages and 75% shot in Bihar with 50% technicians from Bihar will get 25% of production cost or INR10 million whichever is less.

Hindi films 50% shot in the state with 25% Bihari technicians will get 25% of production cost or INR20 million whichever is less. 

 Special grant of INR1 million to producers if the film gets any international recognition.

Shooting Locales 

Bodh Gaya



Patna



Nalanda



Madhubani



Rajgir



Vaishali



Muzzafarpur



Bhagalpur



Pawapuri



Lauria Nandangarh



Valmiki National Park

Bihar

Initiatives taken

Bihar lies mid-way between the humid West Bengal in the east and the sub-humid Uttar Pradesh in the west which provides it with a transitional position in respect of climate, economy and culture. Serving as the backdrop of films like Gangs of Wasseypur and Manjhi: The Mountain Man, Bihar has a thriving film industry. The government is also developing a film city at Rajgir in Nalanda district, 70 km southeast of Patna.

India Film Guide 2022

Department of Tourism (DOT), government of Bihar is the nodal agency for film shooting clearance, incentives and subsidies in the state. 

 Bihar State Film Development and Finance Corporation Ltd (BSFDFC) facilitates film shooting in the state and introduced its film policy in 2016 to support regional, national and international films alike.

Cannes Film Market

Arvind Tiwari BSFDFC promotes film production by co-producing projects involving publicprivate partnerships. 

It also promotes film making by organizing film festivals and film making workshop such as Bihar International Film, Festival, Patna Film Festival, Regional Film Festival, Gandhi Panorama Film Festival. 

General Manager Bihar State Film Development & Finance Corp. Ltd Email dsingh_53@yahoo.com, culturebihar@gmail.com, biharfilmnigam@gmail.com, bsfc.controlroom@gmail.com Bihar State Film Development & Finance Corp. Ltd. Morisson Building, Near Goalghar, Patna - 800001, Bihar, India

Film in India

Film in India Initiatives taken by Delhi for promotion of films  Delhi Tourism & Transportation Development Corporation Ltd. (DTTDC) is in process of introducing “Single Window Clearance” for filming facility.

The state has also made a film manual with details of filming locations, etc. 

The state organises film events and festival like National School of Drama’s Summer Theatre Festival, Delhi International Arts Festival, Osian’s Cinefan Festival of Asian and Arab Cinema, Cinemala Film Festival and Delhi International Film Festival. The 7th Edition of the DIFF held between 14-18 October 2018, was hugely successful with 194 films from 56 countries being screened and about 100 works of art displayed at the art show. This year the festival will be held between 2-7 December 2019 in Central Park and NDMC Convention Centre, Connaught Place. 

Delhi The capital of India, with its unique historical and cultural heritage, has formed the backdrop of many iconic films. Sprinkled with ruins that exist alongside modern infrastructure, Delhi is undoubtedly a cinematic delight embracing two contrasting worlds. The city is home to three World Heritage sites -- Qutub Minar, Red Fort and Humayun’s Tomb. Besides availability of new talent, lower production cost, international connectivity and better infrastructure, there are more than 200 locations to shoot at.

India Film Guide 2022

Delhi Tourism and T r a n s p o r t a t i o n Development Corporation along with Government of Delhi has been working towards making the Capital a film friendly city. Apart from coordinating with the various stakeholder agencies on a regular basis, the corporation also has a dedicated page on the website to guide the filmmakers on numerous locations and facilities available in the city. What Delhi provides is the potent canvas for effective & emotive storytelling and the logistical support required to facilitate the process of

Cannes Film Market

narrating the story. The infrastructure that Delhi offers includes hotels, transport, communication, film shooting equipment and film processing. Delhi’s IGI Airport ranks No.1 in the world when it comes to service quality and is capable handling chartered flights.The city has much to celebrate as it has already reached the milestone of completing 100 years as a capital. Delhi is bounded by four states namely Haryana, Rajasthan, Uttar Pradesh and Punjab that have a strong influence on the lifestyle of Delhi. It is a cosmopolitan city where people are open to

Shooting Locales 

India Gate



Hazrat Nizamuddin Dargah



Red Fort



Agrasen Ki Baoli



Chandni Chowk



Humayun’s Tomb`



Jama Masjid Complex



Connaught Place



Qutb Minar



Hauz Khas



Chandni Chowk



Dilli Haat

Maniksha Bakshi

Dy. Manager (IT) Delhi Tourism & Transportation Development Corporation Ltd. Email: maniksha.bakshi@gov.in Delhi Tourism and Transportation Development Corporation Ltd. 18 A, DDA SCO, Defence Colony, New Delhi - 110024

Film in India

Film in India Incentives offered by Goa  Goa Scheme of Financial Assistance for Films provides financial assistance up to Rs. 50 lakhs or 50% of the cost of production of a film, whichever is less every year. A Feature Film/NonFeature Film Producer/ Co-Producer is entitled to claim assistance under the scheme every year.

Cabo da Rama- Fort- Goa_ 1B8A0247

Goa This little state is a panacea for filmmakers exploring locales that offer the lethal combination of beaches and booze. The region with its colonial architecture is a feast for anyone with an eye for details. Goa, with its vibrant culture, is a theme waiting to be taken up by Western cinema.

(i) For A category – Rs.50 lakhs (ii) For B category - Rs.30 lakhs (iii) For C category - Rs.10 lakhs or 50% total expenditure as per audited statement and income tax return filed

Prakash Naik

 Incentives for nonfeature films in (Konkani, Marathi, Hindi and English):

Information Officer, Email- dipgoa@gmail.com Department of Information & Publicity, Government of Goa, Udyog Bhavan 3rd Floor, Near Azad Maidan and Police Head Quarters,Panaji, Goa - 403001

Incentives for feature films in (Konkani and Marathi): 

India Film Guide 2022

Cannes Film Market

(i) For A category - Rs.10 lakhs (ii) 2) For B category - Rs.5 lakhs (iii) 3) For C category - Rs.3 lakhs or 50% total expenditure as per audited statement and income tax return filed Film producer gets additional assistance of INR20 lakhs if the feature film wins national award in the best film regional category; Rs. 25 lakhs if the film wins a national award in any other best film category; Rs.30 lakhs if the feature film wins Golden Lotus Award at the National Film Awards or any international awards at a film festival recognized by FIAPF. 

 In the non-feature films, Rs.7.50 lakhs if a film wins an award at an international film festival recognized by FIAPF and INR5 lakhs will be given if the film wins a national award.  Additional assistance to individuals and technicians winning national or international awards at FIAPF recognized international film festivals.

Initiatives taken The Entertainment Society of Goa (ESG) established by the government of Goa in 2004, is the nodal agency in the organization of the International Film Festival of India (IFFI). 

Films events and festivals like International Film Festival of India, Goa State Film Festival, European Union Film Festival and Film Free Way - Goa Short Film Festival. 

Shooting Locales 

Beaches like Calangute Beach, Baga Beach, Colva Beach, etc



Basilica Of Bom Jesus



Aguada Fort



Mangeshi Temple



Se Cathedral



Reis Mogos Fort

Film in India

Film in India Incentives offered by Gujarat 100% exemption from Entertainment Tax for Gujarati Films - Intended to make Gujarati films more qualitative and rich, drafted in a way to provide incentives to –



Saputara



Champaner



Mandvi, Bhuj



Producers – Direct cash subsidy – Rs. 5 lacs - 5 crores



Gopnath beach,

 Artists – Awards in 32 different categories; Cash awards – Rs. 11,000 - 2,00,000



Somnath



Dwarka



Adalaj ni vaav



Modhera

A Dedicated Facilitation Unit has been established at Gandhinagar and Mumbai



Sarkhej Rouza



Junagadh

Single Window Clearance for Film shooting Permissions for all kinds of films



Lakhpat



Great Rann of Kutch

Theatre Owners – Benefit of Service Charge of Rs. 10 - 14 per ticket 

Special Attention to international film makers (feature, ads, series etc.) in all aspect of shooting/production.

Initiatives taken

Gujarat

 A dedicated facilitation unit -- TCGL Film Shooting Cell-established at Gandhinagar and Mumbai.

Winner of Indian government’s national award for the ‘Most film-friendly state’ in 2016, Gujarat is increasingly becoming the most preferred spot for the tinsel world. Filmmakers wishing to offer the audience an ‘eastern’ experience can land in Gujarat. 84

India Film Guide 2022

Shooting Locales

 Single window clearance for film shooting permissions for all kinds of films.  Special attention to international film makers (feature, ads, series, etc.) in all aspects of shooting/ production. Cannes Film Market

 If decision on shooting application is not taken in seven days, permission is deemed to have been granted.

Free police arrangement is offered at open areas and public places. Local security clearances from police commissioner/district police is granted within seven days. 

Bhavnagar

For More Information Contact K. Biswas

, Head Film Facilitation Cell, Gujarat Tourism Tel: 079-23977200 Email: cinematic@ gujarattourism.com State Website: https:// www.gujarattourism.com/ filmtourism

Film in India

Haryana Dotted with heritage sites, golf course, lakes and bird sanctuaries, Haryana offers locations like splendid Pinjore Gardens that is the only Mughal garden outside Kashmir and Morni hill station that houses various Tikkar Taal resorts and Quail. Incentives offered by Haryana  As per Haryana Film Policy 2018, a scheme of incentives has also been designed to encourage film makers and production houses in the country and from across the world to shoot in Haryana.  Eligibility is determined based on Minimum Credit Point Score (MCPS). Total Credit Point Score (TCPS) shall determine the incentive that shall be given to the film.

Incentive to Haryanvi films under film policy: 

(i) If credit point system score is 56-84, filmmaker will get incentive up to INR 1 crore or 50% of the production cost, whichever is lower. (ii) If credit point system score is 85-112, filmmaker will get incentive up to INR 2 crore or 50% of the production cost, whichever is lower.

(iii) 100% waiver of location fees for all the government locations 

Incentive to documentary films:

(i) Documentaries below 30 minutes of length get incentive of INR 3 lakh of 50% or the production cost, whichever is lower (ii) Documentaries over 30 minutes of length get incentive of INR 5 lakh or 50% of the production cost, whichever is lower 

Incentive to debut film:

(i) Grant of INR 25,000 to producer for their first documentary or short film and grant of INR 50,000 to producer for its first feature film. 50% of the total budget will be allocated for the Haryanvi films. 

Neeraj Kumar

 Approval of the Haryana Film Policy 2018 for the development of Haryanvi and non-Haryanvi cinema.

Establishment of Haryana Film Cell (HFC) to facilitate and promote film shooting in the state. 

Implementation of a simple process for all permits and clearances through a single window mechanism for all production houses to shoot films in Haryana. 

Government ensures absolute security and crowd control facilities during film shoots. 

Deputy Director (Films) Email- Filmsectiondipr@gmail.com, dgiprharyana@yahoo.com Film Section (8th Floor), Civil Secretariat Haryana Sector 1 - Chandigarh-160017 86

Initiatives taken

India Film Guide 2022

Cannes Film Market

Shooting Locales  Support to set up of film and TV studios in Haryana having production and post production facilities.



Ambala



Panchkula



Bhiwani

 State university of performing and visual arts in Rohtak.



Fatehabad



Faridabad



Gurgaon



Hisar



Jhajjar



Jind



Kaithal



Karnal



Kurukshetra,

Haryana Film State Awards organized by the state to encourage production of films. 

Organisation of film events and festivals like Haryana International Film Festival, Haryana International Short Film Festival and Indogma Film Festival. 

among many others

Film in India

Film in India Incentives offered by Himachal Pradesh 

100% tax exemption to films shot in the state.

 Rs. 10 lakhs will be provided to interested film makers who can work in the folk dialects of Himachal and Hindi, Sanskrit, Urdu and English languages. This includes documentaries of more than 26 minutes and animation films of more than 10 minutes.  Complimentary facilities and rebates extended to film makers availing government facilities like accommodation, transportation and equipment.  Familiarization (FAM) tours for foreign filmmakers would also be facilitated by the support of the state government.

Initiatives taken  To promote Himachal Pradesh as a major destination for promoting film making, a film tourism policy is on the anvil.

Himachal Pradesh From hills to mountains, capped by snowy peaks; punctuated by passes and glaciers, Himachal Pradesh has an abundance of parks, rich with flora and fauna and regions that experience temperature extremes. Himachal Pradesh had always been a popular destination for film industry and had been attracting film makers for the last six decades. Himachal has several scenic locations which are ideal to the film makers especially in the remote belts and the government is making all-out efforts to develop these sites to facilitate the tourists and film makers. 88

India Film Guide 2022

 The government is also exploring possibilities of setting up of film studio in the state for promoting film tourism.

Organising Film events and festivals like International Film Festival of Shimla, Free Spirit Film Festival – Dharamshala and Dharamshala International Film Festival. 

Shooting Locales People, Kalpa, Kinnaur_390A5328



Shimla 



Dalhousie  Dharamsala  Nahan

Manali  Kullu  Chamba

Shri Harbans Brascon Negi Director, DIPR Email- filmshimachal@gmail.com | himachaldpr1@gmail.com Directorate of Information and Public Relations, Soochna Bhavan, Majithia House, Shimla - 2, 171002

Cannes Film Market

Film in India

Film in India Incentives offered by J&K 

Waiver of taxes for films shot in the state.

Incentives/ Grant-In Aid are available for production of films by J&K producers. Jammu & Kashmir tourism policy draft has been submitted for approval wherein initiatives for promoting film tourism such as FAM tours have been proposed. 

Initiatives taken Single window clearance system for granting permission for shooting films within seven days in Kashmir. 

Jammu & Kashmir Jammu and Kashmir has been a paradise for film shooting for its mesmerizing natural beauty and unparalleled scenic landscapes. Despite political disturbances, the state has attracted film directors time and again over the years. The Dal Lake dotted with innumerable houseboats and the distant snow covered mountains along with Gulmarg, Sonmarg and Pahalgam at higher levels add unique colour to the surroundings. Together with Jammu and Ladakh regions, the state is a film maker’s delight for new locales. 90

India Film Guide 2022

Film Tourism Promotion Committee promotes the region as a filming location and extends all support to film productions including security. 

State government plans to encourage heritage buildings to convert into heritage hotels and development of rural tourism. 

The government has also planned development of accommodation for all customer segments through cottages, camping sites, dormitories, youth hostels and yatrinivas at tourist destinations. 

Film events and festivals like Kashmir World Film Festival, Kashmir International Film Festival, Jammu and Kashmir Festival. 

Shooting Locales 

Srinagar



Gulmarg



Pahalgam



Sonmarg



Yusmarg



Verinag



Kokernag



Dodhpather



Lolab Valley



Gurez Valley



Jammu City



Katra



Mansar



Kishtwar



Sanasar



Patnitop



Bhadarwah



Nubra



Kargil



Zanskar



Leh



Drass

Afaq Gadda Nodal Officer, J&K Film Policy Directorate of Information and Public Relation Directorate of Information & PR, Media Complex, Opp. Sher-i-Kashmir Park, Srinagar/ Rail Head, Jammu Email - nodalofficerjkfilms@gmail.com | afaqr75@gmail.com

Cannes Film Market

Film in India

Jharkhand Jharkhand is a nature lover’s paradise. It is home to countless waterfalls -- Hundru Falls, Lodh Falls and Johna Falls. The State’s locales include forests, hills, valleys, waterfalls, wildlife, history, culture, charming towns and vibrant cities. Incentives offered by Jharkhand  If a film director, film is directed/shot in the state in which all the actors are from Jharkhand then the remuneration amount to be given to the actors is Rs. 50 lakhs only, whichever is less will be given as additional grant.  The films made in Jharkhandi languages given grant of maximum of 50 percent of the total costing, and films made in hindi, bangla, oriya and other languages granted 25 percent maximum of the total costing.

If any film is shot/directed by any director in the state in which the main five actors are from Jharkhand, then the remuneration amount to be given to the actors for the given film or Rs. 25 lakhs, whichever is less will be given as additional grant. 

 The documentary and feature film of minimum time duration of 30 minutes and 1 hour respectively if shot more than half days of the total days of shooting in Jharkhand then the grant limit is Rs. 1 crore. And, if 2/3rd shooting of such films is

done in the state then they are eligible for a grant of maximum amount of Rs. 2 crores.  If after the film is shot and processing of the films is done in state, then the grant of 50% costs of the processing or maximum Rs. 50 lakhs is provided.

If any investor opens a film training institute in big cities of Jharkhand (excluding the film city) then 50% cost or maximum Rs. 50 lakhs is provided. 

Entertainment Tax Exemption On Films made or acquired by Children Film Society, National award winner by Central government for best feature film, best hindi feature film and best child film, best



Indian film in International festival, documentary films produced by Central government’s Film Division, family welfare films in which 75 percent of the film should be based on family planning, objective/value based films made by state government/central government/state enterprise or N.F.D.C. and authorized cooperative institutes. 

India Film Guide 2022

Initiatives taken

Ranchi, Birsa Biological Park Zoo_194A9983

Shooting Locales

 Single table system for the successful implementation of film policy and to provide better facilities to the people associated with films.

 Setting up of state film unit to feature minor/ academic films made in Jharkhand in theatres and for implementation of film policy.

Setting up of state level Film Development Council for discussing long term strategies to attract investments for the films and monitor the implementation of film policy.

Security arrangements for film production.



 A film shooting wing would be set up under police department to provide VIP security to film makers.



Ranchi



Deogarh



Barkakana



Ramgarh



Dassam Falls



Jamshedpur



Hazaribagh



Giridih, among many others

Sd. Rashid Akhter Assistant Director, IPRD, Government of Jharkhand email- rashcrash2@gmail.com, Suchana Bhavan, Audrey House, Mayer’s Road, Ranchi, Ranchi -834008 Jharkhand

Cannes Film Market

Film in India

*DQJWRN %XWWHUIO\ :DWHUIDOOB $

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Film in India Incentives offered by Karnataka System of granting subsidy to encourage qualitative Kannada and regional films has been implemented. A maximum of 125 qualitative films in Kannada and Karnataka’s regional languages, which have been completely produced in the State are eligible for the prescribed subsidy every year.  A maximum of four children’s films including those which have won the State Government’s best children’s film awards are eligible for a special encouragement subsidy of

Karnataka

 A maximum of four qualitative films based on historical and tourism promotional films are eligible for a special subsidy of Rs. 25 lakh each.  A maximum of five qualitative films completely based on best literary works are eligible for a special subsidy of Rs. 15 lakh each.

for a screen, maximum of two screens will be given subsidy. Rs 25 Lakhs subsidy for renovations. After obtaining subsidy they must screen Kannada and Karnataka regional language films only.

Subsidy of Rs 50 Laks for construction of Single screen Janata theatre (people’s theatre). If it is Multiplex Rs. 50 Lakhs each

Initiatives taken

This state has the Silicon City of India and a whole array of health spas. A range of architecture depicted through its palaces, temples, mausoleums, monuments and ruins. Sanctuaries, national parks and waterfalls, along with endless beaches, scenic hills and modern cityscapes are abundant here. Shooting Locales 

Bangalore  Coorg  Gangavathi  Udupi  Badami Caves



Balmuri Falls  Ramanagaram

Rs. 25 lakh each.

India Film Guide 2022

 Karnataka Animation Visual Effects, Gaming and Comics Policy (KAVGC) 2017-2022 introduced to address areas of skill development, infrastructure growth, ecosystem expansion, marketing support as well as financial concessions and incentives for Karnataka.  The policy promotes exports by attracting global production, while at the same time providing impetus to indigenous productions in terms of original IP and short films and start-ups in areas such as game development, virtual reality, augmented reality and educational technology.

D P Muralidhar Joint Director Department of Information and Public Relations muralidhardp@gmail.com Information & Public Relations Department, Government of Karnataka 17, Vartha Soudha, Infantry Road, Bengaluru- 560001

 Hosting top global events in Bengaluru. An annual calendar comprising worldclass flagship events like Bengaluru GAFX Conference, Elevate 100 and Bengaluru Tech Summit.

Cannes Film Market

Film in India

Kerala With its unmatched natural beauty, this ‘God’s own Country’ is a Godsend for cinema. Be it the Athirapally or Paalaruvi Falls, or the backwaters at Kumarakom and misty tea gardens of Munnar, the state has enough to offer as the perfect backdrop for films that are high on romance. Initiatives taken 1B8A2801-Sentinel Rock Waterfalls_ Wayanad_ Kerala

Incentives offered by Kerala  Subsidy of Rs 5 lakhs to movies shot in the Chitranjali package scheme under Kerala State Film Development Corporation (KSFDC), Government of Kerala.

 It also has the Chitranjali Studio under Kerala State Film Development Corporation under Government of Kerala with 70 acres of land located primely near Kovalam

Kerala State Film Development Corporation has a strong exhibition network of 14 world class theatres – the largest single owner of theatres in India.

Beach and other tourist locations. The studio has state of the art pre-production, production and post-production facilities with shooting locations, out-door shooting units etc. Information about line producers, availability of local artists, post production facilities, equipment and logistics supply, availability of trained film technicians etc can be availed from this facility.



Kerala State Film Development Corporation has been selected as the nodal agency for extending the facility of single window system for film shooting in Kerala. In the 



is a division of Chitranjali Studio offering production facilities for TV programs. Organisation of film events and festivals like International Film Festival of Kerala, Orma Film Festival and SIGNS Film Festival. 

Another film studio is the Kalabhavan Digital Studio, in Thiruvananthapuram,



Nelliyampathy



Periyar Wildlife



Mattupetty



Fort Kochi



Eravikulam National



Muzhappilangad



Valiyaparamba



Sanctuary

Park

Beach

Backwaters, among many others

Ms. Maya.N (IFS) MD, KSFDC Email- ksfdcmd@gmail.com / ksfdcltd@gmail.com Kerela State Film Development Corporation

process any agency could approach KSFDC for the same. 

 Chitranjali Studio under Kerala State Film Development Corporation with 70 acres of land located primely near Kovalam Beach and other tourist locations. The studio has state of the art preproduction, production and post-production facilities.

Shooting Locales

Chalachitra Kalabhavan Vazhuthucaud, Thriruvananthanpuram -695014

India Film Guide 2022

Cannes Film Market

Film in India

Film in India Incentives offered by Madhya Pradesh

Shooting Locales

 Capital Investment Subsidy ranging from Rs 3 crores-5 crores for creation of infrastructure alongwith installation of equipment to establish Film Studio, Film making, Museum, Aquarium, Theme Park.

Percentage of Investment – 15%



Subsidy

against

Fixed

Capital

Madhya Pradesh State Tourism Development Corporation Ltd. (MPSTDC) runs its own hotels/motels which are available to the film units for film shooting on subsidized rates. 

For lodging facilities maximum discount available is fixed by the management from time to time for its properties across the state.



Khajuraho



Bandhavgarh and



Gwalior



Orchha



Bhopal



Sanchi Stupa



Satpura National



Ujjain



Kanha National Parks

Park

Initiatives taken Madhya Pradesh State Tourism Development Corporation (MPSTDC) is the nodal agency for film shooting clearance, incentives and subsidies in the state. 

Gwalior, Jai Vilas Palace_390A8169

Madhya Pradesh

Winner of Indian government’s national award for the ‘Most film-friendly state’ in 2017, the ‘heart of India’, Madhya Pradesh, offers a wide variety of locales, eliminating the role of a set designer. From famous forts, marble rocks of Bheraghat, to the green hills of Pachmarhi, the options are rich and many. The temples of Khajuraho are UNESCO heritage sites. 98

India Film Guide 2022

The tourism department coordinates with other departments to obtain legal mandatory permissions needed for producers for film tourism. 

 Application for film shooting permission

Cannes Film Market

can be made to tourism department or to the urban local bodies directly depending on the location.  Organisation of film events and festivals like Lakecity International Film Festival and Indore Short Film Festival.

Yuvraj Padole Dy. Director (Film, Events & Marketing) Madhya Pradesh State Tourism Development Corp. Ltd. Paryatan Bhawan, Bhadabad Road, Bhopal – 462003 email : yuvraj.padole@mp.gov.in

Aparna Arya Asst. Manager Madhya Pradesh Tourism Board aparna.arya@mp.gov.in

Film in India

Maharashtra Home to Hindi cinema, popularly known as Bollywood, Maharashtra is a director’s delight, as his/her search for locations ends right here. It boasts of a huge variety of options, seeking to be dissected with a camera. Incentives offered by Maharashtra 

Tax Exemption and Concession

 Marathi films have 100% entertainment tax exemption on theatrical release in Maharashtra State.

Marathi films enjoy Concession/Rebate in Film/TV shooting charges at various government owned sites/locations. i.e. Dadasaheb Phalke Chitranagari Goregaon (East), Municipal Corporation of Greater Mumbai, Department of Archaeology and Museum of Maharashtra, BEST, Maharashtra Maritime Board, etc. 



Financial Assistance and Awards

The Corporation implements Film finance assistance scheme of Government of Maharashtra, under the name “Darjedar Marathi Chitrapat Arthsahaya Yojna” as following 

Marathi Films which scores 70% and above marks is Graded “A” category and granted a financial assistance of Rs. 40 lakh. 

 Marathi films scoring 51% to 69% marks are Graded “B” category and granted a financial assistance Rs. 30 lakh. 100

 Every year State government declares State Film awards, wherein the 1st best movie gets a prize money of Rs. 4 lakh.

Film City Maharashtra Film Stage and Cultural Development Corporation Ltd., Dadasaheb Phalke Chitranagari, Filmcity Mumbai is one of the largest entertainment infrastructure for film, television and commercial shooting in Mumbai which is spread in 521 acres and having outdoor and indoor shooting locations and studio facilities. 

Kolhapur Chitranagari has land bank and indoor/ outdoor shooting facilities at Morewadi Kolhapur. 

AVGC Policy  Maharashtra Film Stage and Cultural Development Corporation Ltd, Dadasaheb Phalke Chitranagari Goregaon East, Mumbai has made provision for Animation, Visual Effects, Gaming and Comics (AVGC) project in its 521 acres of land bank.

Initiatives taken

Shooting Locales 

Mumbai



Pune



Khandala



Mahabaleshwar

A ready to shoot, pollution free infrastructure in the form of Dadasaheb Phalke Chitranagri Film city, Mumbai.



Alibaug



Matheran

Development of Film City as an integrated film studio complex situated at Goregaon, Mumbai.



Panchgani



Ratnagiri



Harihareshwar



Malshej Ghat,

 A single window facilitation cell as an agency to facilitate all film shooting approvals in an integrated manner from a single location.

Creation of the Film Tourism Promotion Council under the aegis of Maharashtra Tourism.    

Online portal for information on locations.

Organize familiarization tours for major production houses in India and across the globe for key tourist destinations in Maharashtra. 

among many others

Mukesh Bhardwaj Manager - Single Window Facilitation Cell Email - manager.filmcell@maharashtra.gov.in | singlewindowfacilitationcell@gmail.com | maharashtrafilmcell@gmail.com Maharashtra Film, Stage & Cultural Development Corporation Ltd. Dadasaheb Phalke Chitranagri, Goregaon (East), Mumbai 400 065 Maharashtra, India.

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Film in India

Film in India Incentives offered by Odisha  Odisha Policy 2015 Industry)

Industrial (5.4.17 Film

Film Industry in Odisha provides direct and indirect employment to a number of people. The employment opportunities in film industry can be increased by promoting Odisha as a destination for film production, film studios and multiplexes. 

 All feature films produced fully or partly in Odisha shall be exempt from Entertainment Tax. MD, Odisha Film Development Corporation (OFDC) will be the nodal officer for providing single window clearance for shooting feature films in Odisha.

Producers of films who utilize the facilities of Kalinga Studio Limited, Film & Television Institute of Odisha and Kalinga Prasad Colour Processing Laboratory will be eligible to get incentives in shape of subsidy subject to the ceiling limit and terms and conditions as may be laid down by OFDC. 

Odisha Odisha is becoming an increasingly popular destination for ‘start, camera, action.’ The Puri Jagannath temple or the chariot-shaped Sun shrine can give modern architecture a run for its money. The Sambalpur waterfalls and the Paradip port mesmerise one, with the confluence of river Mahanadi and Bay of Bengal, at its backdrop. 102

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 OFDC shall formulate a scheme for extending soft loan assistance at a nominal rate of interest subject to maximum ceiling

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limit and on conditions as may be decided by OFDC to producers of films in the State. Multiplexes/Cinema Halls shall be eligible to get allotment of government/ IDCO land at concessional industrial rate. 

 Financial by OFDC

Assistances

 Term Loan of Rs. 15.00 lakhs per film against collateral security of immovable properties. Beyond Rs. 15.00 lakhs against 100% irrevocable bank guaranty.

Shooting Locales 

Bhubaneshwar



Konark Marine Drive



Puri



Chilika Lake



Chandipur



Hirakud Dam



Bhitarkanika, among many others

 Soft Loan of Rs. 8.00 lakhs with interest @ 4% pa per film against collateral security/bank guarantee.  Rs. 8.00 lakhs is also given as loan for renovation of existing cinema houses against collateral security.  70% of the project cost as loan in case of new cinema houses in semi urban and rural areas were termed as Janata Cinema House and Rural Cinema Houses

respectively.  Subsidy up to Rs. 3.50 lakhs per film on submission of censor certificate.

Banupriya Dash Consultant Email: dash.banapriya@ investodisha.org

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Film in India

Rajasthan

Shooting Locales

This princely state is the top choice for royal tales. With its imposing palaces and forts, the cities of Rajasthan might very well pass off as international destinations, thanks to its foreign tourists. Rajasthan is also the most widely captured on cinema. The state has been a favoured location with both Indian and international filmmakers such as Christopher Nolan, Wes Anderson, Sanjay Leela Bhansali, Karan Johar and more! But the stories of Hawa Mahal, Mount Abu and the haunted forts in Alwar are still awaiting to be told on celluloid.

Incentives in Rajasthan are granted under Rajasthan Film Shooting (Amendment) Regulations, 2016.  Films that are 75% shot in Rajasthan and have been given “U” certificates, get a 100% exemption from entertainment tax for one year.  New cinema halls and drive-in theatres have been exempted from entertainment tax for three years – 75% in the first year, 50% in the second year and 25% in the third year.

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Jaipur



Udaipur



Sawai Madhopur



Jodhpur



Amer Palace



Kota, among many others

Pawan Jain Joint Director- Nodal Officer-1 Email: hotel-dot@rajasthan.gov.in / pawanjaindot@yahoo.co.in Department Of Tourism, Government of Rajasthan

Incentives Taken  The state government has streamlined the process of granting speedy shooting permissions

Incentives offered by Rajasthan 



“U” certificate Rajasthani films shot in Rajasthan are eligible for Rs.10 lakh incentives, while films with “U/A” certificate are eligible for Rs. 5 lakh incentive 

State government has waived of processing charges (Rs. 15,000/- day), security deposit (Rs. 0.50 million per week) and application charges (Rs. 1,000). 

In 2013, the state government had issued Film Shooting Regulations for setting up a single-window clearance system under the tourism department to issue timebound permission within 15 days of receiving the application. 

 In 2016, Film Shooting Regulation was amended, wherein different fees such as application, processing, India Film Guide 2022

Cannes Film Market

security deposit, etc. were waived off.  The authorities concerned will have to reply within four days if no reply is received it will be assumed that they have given their consent.  Under the Film Shooting Regulations (amended), the district collectors, superintendent of police and head of departments are the Nodal Officers to issue permissions within the prescribed time.

Paryatan Bhawan, Opposite Vidhayak Puri Police Station, Sanjay Marg, Jaipur, PIN302001

 The government is working on developing online integrated application form containing requirements for all government departments.

 Organisation of film events and festivals like Rajasthan Film Festival (RFF), Rajasthan International Film Festival and Jaipur International Film Festival.

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Film in India

Film in India Incentives offered by Sikkim

Sikkim Sikkim with its picturisque locations like Yumthang Valley, Lachung, Gnathang Valley, numerous Buddhist monasteries and pristine glacial lakes makes for a perfect place to shoot a film. The state has planned concrete steps to ease out the process of planning and shooting films in the state and is committed to offer an investor-friendly policy to make the work of filmmakers easy.

Percentage of Investment – 15%



Subsidy

Capital

Madhya Pradesh State Tourism Development Corporation Ltd. (MPSTDC) runs its own hotels/motels which are available to the film units for film shooting on subsidized rates.

Gangtok



Tsomgo Lake



Yuksom



Khangchendzonga



Nathula Pass



Lachung, Lachen

For lodging facilities maximum discount available is fixed by the management from time to time for its properties across the state.



Ravangla



Namchi



Zuluk, among many



Initiatives taken The Sikkim Government provides financial support to eligible local film with the maximum limit of Rs. 20 lakhs per film.  A mechanism for providing logistical and financial support to filmmakers has been proposed.

Initiatives taken  Proposal of a single window clearance system with a dedicated nodal officer facilitating the various regulatory processes through effective coordination with all concerned departments. 

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

106

against

Shooting Locales

The

Department

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Information & Public Relations to be the coordinating department dealing with all the proposals for making films in Sikkim by local, national and international filmmakers. Departments to complete the clearances within a stipulated time frame of 15-30 days and can issue permissions to shoot films in the general areas under forest cover after verifying the requisite documents and credentials. 

 The Chief Wildlife Warden is the sole authority to issue permissions to shoot films in wildlife sanctuaries.

National Park

and Yumthang Valley

others

Deeki Euthenpa Assiatant Director, Sikkim Film Promotion Board Government of Sikkim Email deeki62@gmail.com, sikkimfilmsboard@gmail.com Email- khawasb@gmail.com Soocha Bhawan, Information & Public Relations Department, Metro Point, Tadong, Gangtok -737102 Sikkim

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Film in India

Film in India Shooting Locales

Incentives offered by Tamil Nadu Grant of subsidy of Rs. 7 lakhs to quality lowbudget Tamil films with social commitment. 

Tamil Nadu Tamil Nadu has a lot on its platter to offer. While the green fields of Pollachi, heavenly falls of Hogenakkal or the misty magic of Ooty and Kodaikanal offer a visual treat to the eyes, the temples of Madurai, or the beaches of Rameshwaram and Kanyakumari take one to a different world altogether.

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 Film awards to the best Tamil feature films, best actors, best actresses and technicians to encourage the Tamil Film Industry.

Another special prize of Rs. 1.25 lakh, along with a memento and a certificate is awarded to a Tamil film which portrays the dignity of women. 

A five sovereign gold pendant, a memento and a certificate are presented to the best actors, actresses and technicians. 

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Awards are also given to Best Dubbing Artistes (both male and female), Best Character Artistes (both male and female), Best Comedy Artistes (both male and female). 



Periyar Wildlife



Pichavaram



Pollachi



Kanyakumari



Kodaikanal



Ooty



Karaikudi



Coonoor



Chennai



Mahabalipuram



Madurai



Coutrallam



Rameshwaram



Tirucharapalli



Chidambaram

Sanctuary In Thekkady

Mangrove Forest

Rajshekhar,

The artistes appearing in television programmes are also honoured. Small Screen Awards are presented every year to Best Tele Serial, actors, actresses and technicians too.

IPR (retired – yet to be appointed)

A cheque for Rs. 1 lakh, a memento and a certificate are given every year to Best Achiever of the year and Best Lifetime Achiever.

Department of Information & PR



Joint Director IPR Email : tnaddlpr@gmail.com / dipr@tn.gov.in / ftsection100@gmail.com rajasekar7@gmail.com

Tamil Development & Information Department Secretariat, Chennai -600009

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Film in India

Film in India Incentives offered by Telangana  Telangana Tourism Department runs a hotel chain called Haritha Hotels. Their presence is spread across the state and located almost in all the tourist places. These hotels can be booked online.The Tourism department gives a rebate of about 30% to film makers on the project basis. They can advance book the hotels as per their filming schedules.

Initiatives taken  Telangana Tourism and a dedicated nodal agency, Telangana State Film Development Corporation (TSFDC), facilitate film shootings in Telangana.

Telangana Telangana is going all out to woo international filmmakers to shoot in the state, especially in various beautiful locations like Jodeghat, Gandhari Killa ( fort), Mitta waterfall (Satha Gundu), Manikguda caves, Kerameri Ghat Road and Shivaram, all in Adilabad district, which is over 300 km away from the state capital Hyderabad. The state capital is a world-class film production centre offering award winning talent both in front and behind the camera. The state offers leading edge post-production, animation and special effects capabilities, stunning filming locations, state of the art studio facilities, along with comprehensive support services that deliver a seamless production experience from start to finish. 110

India Film Guide 2022

 Telangana Tourism Department invites filmmakers and producers across the globe to take part in the massive state wide “Fam-Tours” to get acquainted with the State and film locations.

Shooting Locales 

Jodeghat valley



Laknavaram Suspension Bridge



Golconda Fort



SapthaGundalu Water Falls



Ramoji Film City



Faluknama Palace

 Telangana State Film Development Corporation to accept the application from the filmmakers and process the application for shootings by pursuing the matter with various departments and issue clearances within 7 days.  The world renowned Ramoji Film City is acclaimed internationally and serves hundreds of films every year.  Telangana government is formulating a robust film tourism policy that is to be implemented which includes a single window clearances for necessary permissions and logistic and administration assistance.

TSFDC has appointed a Nodal officer to understand the concerns and needs of filmmakers during various stages of filmmaking and the permission process. The filmmaker can also reach the Executive Director of TSFDC. 

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M.D. Vijay Manager Telangana State Film Development Corporation Email- vijaymd1965@gmail.com Telangana State Film Development Corporation # 10-2-1, A.C. Guards, Hyderabad

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Film in India

Uttar Pradesh Uttar Pradesh is the rainbow land where the multi-hued Indian culture has blossomed from times immemorial. Taj Mahal in Agra, the symbol of love, has attracted filmmakers to Uttar Pradesh since the black and white era. The temple town of Varanasi offers a never-seenbefore cultural experience for the international viewer, while the Buddhist relics at Sarnath and Lucknow are other places that could double up as props for a film catering to a wide audience.

Incentives offered by Uttar Pradesh  The subsidy limit will be a maximum of 50 percent of the total cost for Awadhi, Braj, Bundeli and Bhojpuri films, while it will be a maximum of 25 percent of the total cost for Hindi, English and other Indian languages films. The maximum limit of the subsidy shall be Rs. Rs. 1,00,00,000/- (one crore rupees) for the films which have been shot for at least a half of its total shooting days in Uttar Pradesh. The films, which have been shot for the two-third of its total shooting days in Uttar Pradesh, shall be entitled for a subsidy up to a maximum limit of Rs. 2,00,00,000/- (two crore rupees)  The grant for the films produced in the state by the National/International Award winner 

Producers/Directors of films who have

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Shooting Locales

Rs. 50,00,000, whichever is less, shall be sanctioned as additional subsidy for the film. If any Investor establish a film training institute in any major city (excluding Noida/Greater Noida) of the state, 50 percent of its cost or a maximum of Rs. 50 lakh, whichever is less, shall be sanctioned by way of maximum subsidy for this purpose. 

already once received grant previously under the film policy, shall receive the grant as under –  On doing half of the shooting duration of the film in the state - Rs 175,00,000-00  On doing two-third of the shooting duration of the film in the state - Rs 2,25,00,000-00

If Five main artists hail from Uttar Pradesh an additional subsidy, upto maximum Rs. 25,00,000/- shall be paid. 

 Similarly, if all the artists hail from Uttar Pradesh an additional subsidy upto maximum Rs. 50,00,000/- shall be paid.  If any film producer, after shooting of the film, goes for its processing in the state itself, 50% of the processing cost or

India Film Guide 2022

 The films produced, to patronize the feeling of “One Nation, Best Nation”, in English and other languages of the country (excluding the films produced in regional languages of Uttar Pradesh), shooting of which has been carried out for a half of their total shooting days in the state, shall be given 50 Cannes Film Market



Lucknow



Agra



Prayagraj



Varanasi



Chitrakoot



Ayodhya



Sarnath



Mathura

percent of their cost by way of subsidy or Rs. 50 lakh, whichever is less.  A subsidy to the limit of 50 percent of the cost or up to Rs. 50 lakh, whichever is less, will be admissible to the films, which have been produced by such overseas citizens of India (OCI), whose ancestors were original inhabitants of India and who are currently living in the countries like Mauritius/Fiji/Surinam/ Holland etc., subject to the condition that a half of the total days of their shooting has been undertaken in Uttar Pradesh. These films must have the certificate issued by the Censor Board of India.

Dinesh Sehgal Deputy Director, Film Bandhu Email: filmbandhuup@gmail.com Deendayal Upadhayay Soochana Parisar, Information and Public Relation Department, Govt. of Uttar Pradesh, Park Road, Hazratganj, Lucknow 226001

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Film in India Incentives offered by Uttarakhand 

No Entertainment Tax for indigenous films to encourage local filmmakers which in turn will generate employment in the State. National Centre of Films for Children and Young People (NCYP) produced Children Film, National and International Award winning Films will be exempted of Entertainment Tax. 

Financial Incentives

1. Exemption of Shooting Fees for films. Any film maker can shoot in Uttarakhand without any Shooting charge/fees. 2. Films in regional Languages/dialects of the state of Uttarakhand, if the film is processed within the State 

 75% will be borne by the State, after consulting the concerned Committee

Tax Incentives



5. Big banner films upto the budget of 2 crores, if 75% of the shooting is done in Uttarakhand

30% or 25 lakh (whichever is lesser)

Shooting Locales 

Nainital



Dehradun



Musoorie



Ali Bugyal



Ranikhet



Chopta



Auli



Almora



Gwaldam



Chamoli



Rishikesh, among many others

Processed outside the State 

3. Film makers from outside the State –

Uttarakhand

If 75% of the shooting is done in Uttarakhand and film is processed in Uttarakhand

Uttarakhand with beautiful hills of Nainital, Mussoorie’s waterfalls, accompanied by the divine bells at Rishikesh and Badrinath, is the right destination for filmakers. Action scenes are bound to get racier, if shot at the skiing mountains at Auli and Munsiyari. The animals at Jim Corbett Park too, await their 10 seconds of fame.

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25% or 20 Lakh (whichever is lesser)

India Film Guide 2022



30% or 15 lakh ((whichever is lesser)

If 75% of the shooting is done in Uttarakhand and film is processed Outside 

25% or 10 lakhs ( Which ever is lesser)

4. If a Filmmaker from any part of India produces a film promoting the Tourist Spots, Monuments, Culture of Uttarakhand, the State will try for special benefits to encourage the same, after consulting the concerned Committee.

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K.S. Chauhan Joint Director, Department of Information, Government of Uttarakhand Email- kschauhan20@gmail.com / ufdc2015@ gmail.com Dept. of Information & Public Relations, Govt. of Uttarakhand, Ring Road Ladpur, Dehradun - 248001

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Film in India

West Bengal The British are long gone but the colonial influence still remains, in the look of its buildings and monuments. Interiors and mindsets that haven’t morphed with the time yet co-exist happily with the present. West Bengal offers a remarkable range of destinations and experiences within a single state. It is a land of contrasts- in climate, vegetation, scenery and landscape and has a rich diversity of ethnicity, culture, languages and religion. It is a truly unique state because it stretches all the way from the seas to the Himalayas.

Initiatives taken  The West Bengal government is aiming to launch a single window to process requests to shoot movies in the state.

Incentives offered by West Bengal  West Bengal offers number of incentives which film makers and producer can get under different under industrial, tourism and MSME policies.  Maximum incentive of Rs. 30 million in the form of subsidy for film makers executing post production processing at the Cine Laboratory Complex.

116

The Tourism Department is framing a film tourism policy which would promote West Bengal as a film tourism destination. 

 Extension of government subsidy scheme to Nepali, Assamese, Oriya, Manipuri, Bhojpuri, Santhali and Chhattisgarhi films that are processed in West Bengal.

For new and renovated cinema halls, entertainment tax exemption for three years. 

India Film Guide 2022

 The Tourism Department is focusing on upgrading infrastructure in the shooting sites.

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Shooting Locales  The government has issued a notification for setting up West Bengal Film Academy (WBFA), which will act as an umbrella body for all issues relating to the film industry.  Organisation of film events and festivals like Kolkata International Film Festival, Bengal International Short Film Festival, Kolkata Shorts International Film Festival and UNICEF International Children’s Film Festival.



Kolkata



Darjeeling



Digha



Sundarbans



Duars

Mitra Chatterjee W.B.CS. (Executive) mitroch@gmail.com Special Secratary & CEO Nandan, Government of West Bengal

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Film in India

Dadra and Nagar Haveli

Chandigarh Chhattisgarh The first planned city of India post Independence, Chandigarh is a union territory in India that serves as the capital of the two neighbouring states of Haryana and Punjab. The city is unique as it is not a part of either of the two states but is governed directly by the Union Government, which administers all such territories in the country. Chandigarh is located at the foothills of Shivaliks and is very popular with tourists due to its urban planning. Home to a large number of green spaces, the city has some very interesting places for film shooting like Rock Garden, Rose Garden, Pinjore Garden, International Dolls Museum, Terraced Garden, among many others.

Hitesh Bharadwaj Nodal Officer, Bollywood Film Cell, Dept of Tourism Email- chdtourism123@gmail.com / hiteshchdtourism@gmail.com Address- Chandigarh Administration, Paryavaran Bhawan, 4th Floor, Sec- 19 B, Near Kali Mata Mandir (Madhya Marg) Chandigarh 160019

118

The state served as the backdrop of films like ‘Newton’, which was India’s official entry at the Oscars. Carved out of Madhya Pradesh in 2000, Chhttisgarh has a vast tribal area with unmatched natural beauty. The state government has recently constituted Chhattisgarh Film Development Corporation to facilitate making of films in regional languages as well as those spoken across the state. The state has a unique topography, virgin forests and is rich in folk art forms. The state has some of the best locations in the counrty like Chitrakote Waterfall, Kanger Valley National Park, Pamed Sanctuary, Bhoramdeo Sanctuary, Kailash Caves, Achanakmar Tiger Reserve, among others. Chhattisgarh also has a prominent tradition of folk theatre with Naacha Gammat, Bhatranaat and Bharthari being well-known.

Arun Gupta Director, Tourism | Email - tourism-dmn-dd@nic.in

Dinesh Bhai, Tourism email- damantourism2013@gmail.com

Dadra and Nagar Haveli is a union territory of India located in the western part of the country and situated between the states of Gujarat to the north and Maharashtra to the south. It lies some 15 miles (24 km) from the Arabian Sea and about 80 miles (130 km) north of Mumbai (Bombay). The territory consists of two sections—Dadra and Nagar Haveli— which together embrace roughly 72 villages. The capital is Silvassa. Area 190 square miles (491 square km).

Department of Tourism, Paryatan Bhavan Near Nani Daman Bus Stand Nani Daman, Daman 396210

Daman and Diu

Arun Gupta Director, Tourism | Email - tourism-dmn-dd@nic.in

Daman and Diu is a union territory in Western India. With an area of 112 sq km, it is the smallest federal division of India on the mainland. The territory comprises two distinct regions Daman and Diu, geographically separated by the Gulf of Khambhat. The state of Gujarat and the Arabian Sea border the territory. A Portuguese colony since the 1500s, the territories were amalgamated in India in 1961 through a military conquest.

Dinesh Bhai, Tourism

Vivek Acharya, I.F.S

email- damantourism2013@gmail.com

Director, Directorate of Culture and Archaeology

Department of Tourism, Paryatan Bhavan

Email – deptt.culture@gmail.com

Near Nani Daman Bus Stand

MGM Museum, Civil Lines

Nani Daman, Daman 396210

Near Raj Bhavan, Raipur ,CG - 429001

India Film Guide 2022

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Film in India

Lakshadweep

Muhammad Ali Tak OSD/Under secretary with Secretary Tourism and Culture UT Ladakh Email- comsecyutladakh@gmail.com comsecytourismutl@gmail.com Commissioner / Secretary Department of Tourism and Culture, Administration of UT of Ladakh Union Territory Secretariat, Leh Ladakh - 194101

Beautiful Lakshadweep was in limelight after Sinjar, a feature film by Malayalam short film director Sandeep Pampally won big at the 65th National Film Awards recently. The Union Territory is a paradise in itself and the simplicity of life here is what can make it a wonderful backdrop of some of the unique stories that need to be told. This tiniest Union Territory of India is situated in Arabian Sea and is considered to be among the most beautiful beach destinations of the country. There are 27 islands in total and each is about 220 to 440 km away from the coast of Kerala. The Department of Tourism Development, UT Administration of Lakshadweep is engaged in the development of Film Tourism in the UT of Lakshadweep. Though till recently Lakshadweep was out of reach for the film industry, considering the importance of film tourism, it has been declared as one of the key elements of

Manipur

Sunzu Bachaspatimayum, Secretary, Manipur State Film Development Society Email- sunzu.msfds@gmail.com secretary.msfds@gmail.com Manipur State Film Development Society, Government of Manpur, Palace Compound Imphal East - 795001, Manipur

120

Tucked in the beautiful North East India, Manipur has to offer some of the most scenic shooting locations in the country. Home to the beautiful Loktak Lake, picturisque Leimram Waterfall and the majestic Kangla Fort, Manipur is a paradise for filmmakers. The state is also rich in historical monuments like the ancient Kangla Fort or Willong Khullen, an extraordinary place resenbling Stone Hinges, that can form a perfect backdrop for a film. The state also has a rich cultural heritage and its numerous festivals have much to offer a film maker. The state also has to offer exotic wildlife, and warmhearted people. It’s simply impossible not to fall in love with this state, which is rightly called the Switzerland of India. India Film Guide 2022

Meghalaya

Mizoram

Meghalaya, or the abode of clouds, remains a virgin territory waiting to be exploited for film shootings. Improving its infrastructure manifold, the state recently agreed to come on board the Mumbai Academy of the Moving Image (MAMI) and aspires to become a preferred destination for shooting films. Star attractions in the state are its waterfalls, caves, rainforests, hill stations and a lot more. There are numerous places that are well-known all over the world as it boasts some of the most spectacular waterfalls like Nohkalikai Falls, Elephant Falls, and Mawlynnong Falls; the longest caves like Krem Liat Prah and Mawsmai Caves; and the wettest places in the world like Cherrapunji and Mawsynram. The crystal clear water of Umngot River in Dawki, the sacred forests of Mawphlang, and the world-famous living root bridges in Cherrapunji can form a beautiful backdrop of any film and mesemerize the audience world over.

Mizoram in North-East India is inhabited by numerous tribes practising a wide range of religious customs. Blessed with a diverse range of geographical features, this small state offers excellent opportunities for film makers to explore its splendour. The landscape of Phawngpui Hills, Vantawang Falls and Palak Lake are just waiting to be captured by camera. Mizoram recently organised a three-day Indian Film Festival at Vanapa Hall in Aizawl. The state government is ready to provide any assistance in terms of infrastructure or logistics support if interested filmmakers would venture in this picturesque state.

C Passah

C. Lalnunkima

Deputy Director, DIPR

Director (IPR), Department of Information & PR

cpassah2001@yahoo.co.in / diprmeg@gmail.com

Email- diprmizoram@gmail.com

Directorate Information & Public Relations, Government of Meghalaya

Department of Information & PR

Lower Lachumiere, Shillong - 793003

Mizoram”

Treasury Square, Aizawl – 796001

MEGAHALAYA

Cannes Film Market

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Film in India

Punjab

Rajat Agarwal, IAS CEO, Invest Punjab

Nagaland

Puducherry

A state that is on the world map for Hornbill Festival and music, Nagaland has much more to offer as a pristine shooting location. The mountainous state in northeast India, bordering Myanmar, has immense potential to emerge as a filming destination with the government making an all out effort to put in place film-friendly policies in order to attract shootings from outside. The first Nagamese language movie made its debut recently at Nagaland Film Festival. Based on the inspiring story of Mhonbeni Ezung, the youngest recipient of National Bravery Award for Children, the film was entirely shot in Nagaland.

A French colonial settlement in India until 1954, Puducherry has well preserved its French legacy in French Quarters, with tree-lined streets, mustard-colored colonial villas and chic boutiques.From its beaches to historical monuments and from its temples to churches, this Union Territory of India is an interesting destination. The laid-back charm of Pondicherry is clearly visible in the quaint French part of the town while visitors can also cherish the authentic Indian feel that the city brings through its culture and people.

Shri Z. Tokishe Sema

Jt. Director, DIPR Email- tokishez@yahoo.co.in

Ms Asangla Imsong, IPR

Email- assangim@yahoo.com Address- Directorate of Information & Public Relations, Government of Nagaland New Capital Complex, Kohima, Kohima - 797001 Nagaland

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ceo@investpunjab.gov.in Email- utsav.kant@investpunjab.gov.in / Email- Alkakapoor.phtpb@gmail.com

Tripura

C. Sendhil Kumar,

Ratan Biswas

Revenue Officer,

Director

Collectorate, Puducherry

Department of Information & Cultural Affairs,

Email- ro-rev.py@gov.in

Government of Tripura

dcrev.pon@nic.in

Email- icadirector.tripura@gmail.com

Office of Distt. Collector, Pettiyanchatram,

Department of Information & Cultural Affairs, Government of Tripura, Gandhighat, Agartala -799001 Tripura

Vazhdhavur Road, Punducherry - 605009

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Already a popular destination with Bollywood filmmakers, Punjab with its ancient buildings erected by the Patiala dynasty, The Golden Temple and a vibrant culture of Amritsar, sunshineyellow mustard fields, heritage sites, open spaces and effervescent lifestyle, has all the necessary ingrediants to attract global filmmakers. The land of five rivers, Punjab is also the land of food, colour, and happiness. Being one of the most significant places in India historically, this state is filled with wonderful architecture and places of worship.

Cannes Film Market

Tripura is a landlocked hilly State in northeast India with altitudes varying from 15 to 940 meter above sea level, though the majority of the population lives in the plains. Tripura has a tropical climate and it receives rainfall during the monsoon. It is surrounded on the north, west, and south by Bangladesh and is accessible to the rest of India through the Karimganj district of Assam and Mamit District of Mizoram in the east. The state can serve as a perfect backdrop of an adventure film that demands locales where the jungle plays an important part. Full of virgin locations that are awaiting to be explored, Tripura with five mountain ranges—Boromura, Atharamura, Longtharai, Shakhan and Jampui Hills—is a state full with surprises.

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PEOPLE

Ministry of Information & Broadcasting

Indian INDUSTRY delegation to cannes

Anurag Singh Thakur Union Minister for Information & Broadcasting Dr. L. Murugan, Minister of State for Information & Broadcasting Apurva Chandra, Secretary Neerja Sekhar, Additional Secretary Dhanpreet Kaur, Director (Films) Akshay Kumar (Actor and Producer)

The Ministry of Information & Broadcasting, through the mass communication media consisting of radio, television, films, the press, publications, advertising and traditional mode of dance and drama plays a significant part in helping the people to have access to free flow of information. It also caters to the dissemination of knowledge and entertainment to all sections of society, striking a careful balance between public interest and commercial needs, in its delivery of services. Ministry of Information & Broadcasting is the apex body for formulation and administration of the rules and regulations and laws relating to information, broadcasting, the press and films. This Ministry is responsible for international co-operation in the field of mass media, films and broadcasting and interacts with its foreign counterparts on behalf of Government of India.

A. R. Rahman (International Music Composer)

Nawazuddin Siddiqui (Actor)

R. Madhavan (Actor & Producer)

Pooja Hegde (Actress)

Embassy of India, Paris H.E. Jawed Ashraf Ambassador of India to the Republic of France and Principality of Monaco

A career diplomat, H.E. Mr. Jawed Ashraf joined the Indian Foreign Service in 1991. He served in Frankfurt and Berlin from 1993 to 1999. He thereafter worked at the Americas Division of the Ministry of External Affairs in New Delhi from 1999 to 2004. He completed a three-year tenure as Counsellor at the Embassy of India in Kathmandu in 2007. From 2007 to 2010, he served as the Counsellor and the Minister for Political Affairs at the Embassy of India in Washington DC following which he headed the Americas Division of the Ministry of External Affairs in New Delhi from 2010 to 2012. H.E. Jawed Ashraf subsequently served as Joint Secretary in the Prime Minister‘s Office under former Prime Minister Dr. Manmohan Singh and then Prime Minister Shri Narendra Modi. His responsibilities during his tenure at the Prime Minister’s Office included External Affairs, Defence, National Security Council, Atomic Energy and Space. He returned to again serve at the Ministry of External Affairs in January 2016 and was Joint Secretary (Special Projects). He served as the High Commissioner of India to the Republic of Singapore from November 2016 to July 2020.

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Prasoon Joshi (Writer, Poet & Chairman, CBFC)

Shekhar Kapur (Filmmaker & Chairman, FTII)

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Mame Khan (Folk Music Composer, Singer)

Tamannaah Bhatia (Actress)

Ricky Kej (Music Composer)

Vani Tripathi TIKOO (Member, CBFC)

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NATIONAL FILM DEVELOPMENT CORPORATION (NFDC India Ltd)

FEDERATION OF INDIAN CHAMBERS OF COMMERCE & INDUSTRY (FICCI)

Ravinder BHAKAR Managing Director

ARUN CHAWLA Director General arun.chawla@ficci.com LEENA JAISANI Asstt Secretary General, Media & Entertainment leena.jaisani@ficci.com SAMIR KUMAR Additional Director, Media & Entertainment samir.kumar@ficci.com PANKAJ SINGH Additional Director pankaj.singh@ficci.com VIKAS KUMAR SARVANG Joint Director- Logistics / Branding vikas.sarvang@ficci.com GARIMA SINGH Senior Assistant Director • Media & Entertainment garima.singh@ficci.com ANSHUMAN SEKHAR Consultant- Media & Entertainment anshuman.shekhar@ficci.com AYESHA NABI Joint Director- Hospitality ayesha.nabi@ficci.com

Deepti CHAWLA • Head- Distribution/Syndications/Marketing • deepti@nfdcindia.com Leena KHOBRAGADE • Head of Film Festivals, Programming/Training • leena@nfdcindia.com Sonal MATHUR Head of International Promotions

The National Film Development Corporation Ltd, a Public-Sector Enterprise under the Ministry of Information & Broadcasting, was formed by the Government of India with the primary objective of planning, promoting and organising an integrated and efficient development of the Indian film industry. With more than 300 films in 21 Indian languages, many of which have earned wide acclaim and won national and international awards, NFDC’s architecture aims towards creating domestic and global appreciation of the cinemas of India. While its recent catalogue boasts of films like The Lunchbox by Ritesh Batra, Qissa by Anup Singh, The Good Road by Gyan Correa, its old catalogue includes films such as Gandhi by Richard Attenborough, Salaam Bombay by Mira Nair, Train to Pakistan by Pamela Rooks, Duvidha by Mani Kaul, Ek Din Achanak by Mrinal Sen, Agantuk by Satyajit Ray amongst others. NFDC aims at fostering excellence in cinema and promoting the diversity of its culture by supporting and encouraging films made in various Indian languages through productions. NFDC organises Film Bazaar, South Asia’s global film market held in Goa alongside the International Film Festival of India. As producer, NFDC seeks partnerships with international production and distribution houses, and sales agents to collaborate on new films as well as on our catalogue of more than 300 films. NFDC continues to build the brand Cinemas of India in international markets, with an emphasis on India’s linguistic, cultural and regional diversity. NFDC also acquires globally-acclaimed films for distribution in India and the Indian sub-continent. As the organiser Film Bazaar -South Asia’s Global Film Market

FILM FACILITATION OFFICE Vikramjit ROY • Head - Film Facilitation Office • vikramjit@nfdcindia.com

India, a land of stories and a melting pot of emotions, narrates itself through breath-taking landscapes. Leveraging the country’s diversity becomes imperative while achieving creative collaborations on a global scale. It is more so when it comes to collating and managing filmic resources on ground, available within the country. This is where a structured body like the Film Facilitation Office (FFO) comes in. The Ministry of Information & Broadcasting, Government of India, set up the FFO in the National Film Development Corporation (NFDC) with a view to promote and facilitate film shootings by foreign filmmakers in India. The services rendered by the FFO have now been extended to Indian filmmakers as well. It acts as a single-window facilitation and clearance mechanism that eases filming in India, as well as endeavouring to create a film-friendly ecosystem and promoting the country as a filming destination.

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FICCI is managing the India Pavilion at Cannes under the aegis of the Ministry of Information & Broadcasting and Directorate of Film Festival, Government of India. The objective of the India Pavilion is to promote Indian cinema across linguistic, cultural and regional diversity, with the aim of forging an increasing number of international partnerships in the realms of distribution, production, filming in India, script development and technology, and promoting Indian films abroad. FICCI is the largest and oldest apex business organization in India. A not-for-profit organization, FICCI is the voice of India's business and industry, encouraging debate, articulating the private sector's views and influencing policy. FICCI has been supporting the cause of the Indian entertainment industry, including the film industry, for the past sixteen years. It has successfully facilitated several policy milestones for the media and entertainment sector. FICCI organises its annual flagship conference FICCI FRAMES -- Asia's biggest global convention on Media and Entertainment in Mumbai.

MEET US AT INDIA PAVILLION, 109 VILLAGE INTERNATIONAL, CANNES

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PEOPLE

ALLIANCE MEDIA & ENTERTAINMENT PVT. LTD

ASSAM STATE FILM (FINANCE & DEVELOPMENT) CORPORATION LTD

Sunil DOSHI • CEO • sunil.doshi@alliancemedia.in

Simanta BARMAN • Chairman Aimee BARUAH • Director

Alliance Media and Entertainment is a boutique creative studio engaged in the business of film production, acquisition and distribution. Over the last two decades, they have put together a formidable roster of movies that have garnered widespread acclaim across the globe. Their films have screened and won awards at major film festivals, including Cannes, Berlin, Sundance, SXSW, Rotterdam among many others. At Alliance, they are devoted to finding unique stories that are translatable across geographies

Assam State Film (Finance and Development) Corporation Ltd. (ASFFDC) is an organization undertaken by Government of Assam which aims in developing and promoting the legacy of Assamese cinema. It was incorporated on 4 September 1974 under Companies Act 1956 by the Government of Assam.

At Alliance Media, they firmly believe that ideas are the currency of the present. Apart from acquiring and licensing films, TV series, and documentaries in India, Pakistan, Nepal, Bhutan, Myanmar, Bangladesh, Sri Lanka, Maldives, and Afghanistan, the company is actively on the lookout for remake rights of titles that can be adapted for an Indian remake. They also distribute acquired premium content to broadcasters through platforms such as Pay TV, Free TV, VOD operators, Internet, Home Video, Airlines etc.

BHANUSHALI STUDIOS Vishal GURNANI • CEO - Producer Vinod BHANUSHALI • CEO - Producer

ALPHANSO TECHNOLOGY

Juhi PAREKH MEHTA • Producer

Gaurav Kanabar• CEO • info@alphansotech.com • www.alphansotech.com

Pratik JAITAPKAR• Assistant Producer • abhilash@bhanushalistudios.com

Bhanushali Studios Limited is engaged in the business of production of cinematographic films, music and other related activities. Alphanso Technology is an OTT Platform development company developing. With their platform content can be monetized through AVOD, SVOD and TVOD business models.

ARTIST MANAGEMENT

BIGTREE ENTERTAINMENT PRIVATE LIMITED

Baker Ninan Fenn• Producer - CEO • satish@artistmanagement.net.in

Ashish SAKSENA• Chief Operating Officer: Cinemas • ashish.saksena@bookmyshow.com • www.bigtree.in

Shailaja Desai • Managing Director Regina Cassandra • Artist

Artist Management is an agency that has an over all vision that plans and executes a road-map for a brand or an artist. The talent agency works with some of the well-known names in the industry. We thrive on excellence and our goal is to take a brand or an artist from an ideation stage through and through.

Headquartered out of Mumbai (India), BookMyShow (BMS) was founded in 2007. BMS helps connect Film Producers, Distributors and Exhibitors by providing a one stop destination for all the entertainment ticketing needs for movies and live events- anytime, anywhere. The company is now venturing into the space of Content acquisition for Videos and in Music. This flagship brand of Bigtree Entertainment Pvt. Ltd. (established in 1999), has a presence in over 300 cities & towns across India.

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BIOSCOPE FILM FRAMERS

C.K ENTERTAINMENTS

Ranjithkumar DHANDAPANI • Producer

Kalyan CHILLARA • Producer • sifcc1939@gmail.com

Parthiban RADHAKRISHNAN • Writer - Director - Producer Keerthana PARTHIEPAN • Producer Devan PRABHAKAR • Producer

C K Entertainments was established in the year 2005 and has produced more than 50 films in Telugu, Tamil & Kannada.

Akshay Akkineni • Producer Raaki Parthiepan • Producer • ranjith@bioscopeusa.com • www.bioscope.movie

Bioscope Film Framers is an Indian film production and distribution company headed by Radhakrishnan Parthiban. It was founded in 1992 in Chennai, India.

CINEAH TECHNOLOGIES Harish MALLYA • Creative Director • cine@cineah.com • www.facebook.com/cineah.in

BOMBAY BERLIN FILM PRODUCTIONS, LLP Katharina SUCKALE • COO / Co-owner/Production • ks@bombayberlin.com

Cineah's vision is to create a boutique of best of the world cinema to specifically Indian audience. They showcase the best films that are made across the world to audiences in India and in Indian film festivals. Get the best films made in India to be showcased in film festivals across the globe.

Arfi Lamba • CEO-Producer • arfi@bombayberlin.com

BBFP is an Indo-German film production house in Mumbai and Berlin. Films under their banner include LOEV (SXSW, BFI, Tallinn, released on Netflix in 180 countries), The Road to Mandalay (Winner of the Fedeora Award/ Venice Days, released in Europe and Asia), Radius-Trijya (Shanghai International FF, Tallinn, Geneva, Dhaka International Film Festival/ Cinematography Award, National Award Best Sound Design 2021). Besides we are developing series for Disney+, ZDF, and other channels and platforms. We are interested to meet Co-production partners for feature films and series. Directors and writers are always welcome. In these times, we also provide virtual shooting services.

BRIDGE POSTWORKS

CINEVESTURE

Sidharth MIRCHANDANI • Colourist • Production, Management • hello@bridgepostworks.com • www.bridgepostworks.com

Nina LATH GUPTA • Other Programming, Servicing, Management • info@cinevesture.com • www.cinevesture.com

Award-winning Colour Grading and Post-Production Workflow Services at the highest International standards for Cinema, TV and OTT. Looking to collaborate with exciting young filmmaking talent and help realise their vision on the screen.

This platform acts as a hub to enable the business of film through knowledge sharing, community building, and global connectivity. The company's objective is to build collaborations in training, financing and production.

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CK ARTS

CONTENTFLOW STUDIOS

Chandrakant SINGH • Director

Bobby BEDI • Producer • bobby@kepl.in • www.contentflow.in

Bhupendra Singh • Assistant Manager Jagdish Jagdish • Assistant • ck@ckarts.co.in • www.ckarts.in

The company has been into film productions for the last three year and has produced two Bollywood films and is currently planning a new project.

Content Flow Studios is a group company of Kaleidoscope Entertainment, producers of Shekhar Kapur's Bandit Queen, Fire, Maqbool, The Rising and many other films. Contentflow Studios has recently produced two feature films, Bitter Chestnut was at Busan, MAMI and Rotterdam Film Festivals and the latest production Crescent Moon, Directed by Gurvinder Singh (Chauthi Koot, aka 4th Direction which was in Un Certain Regard) is on offer for consideration to Cannes.

Clapstem Entertainment

CURRY WESTERN

Girish MALIK • Writer - Director - Producer • girish@clapstem.com • www.clapstementertainment.com

Kamal Musale • Producer - Director • prod@curry-western.com • www.curry-western.com

For Clapstem Entertainment, content is king and they intend to engage the global audience with their work. The company's team carries over a 1000 hours of television experience and have also produced 3 feature films: JAL (water), TORBAAZ and BAND OF MAHARAJAS. The company's objective is to meet potential co-production partners, distributors and sales agents for our upcoming slate of films: Band Of Maharajas (Ready for release), Madhu (Scripting); Dilruba (Scripting); Massakali (Scripting).

CONFEDERATION OF INDIAN INDUSTRY

Curry Western produces Indian content movies for western taste. They have completed three feature films (last one in post) and are now in another 3 movies. Their productions are a mix of soft and equity finance. With peacefulfish (Berlin) they founded eurindiamedia, representative of the European Film Commission in India, which develops the Indian-European co production market. The founder, Kamal Musale, is half Swiss and half Indian and studied film-making in NFTS in England. They are pre-selling their last movie The Hermit (now in post), a black comedy shot in India with Canadian/US actors. The company is also pitching their next movies: Jungle Girl Book (to be shot in Mumbai next year, The Poor Spy (to be shot in different EU countries), and Assam, a ghost story about witch hunting in contemporary India.

Neerja BHATIA Executive Director neerja.bhattia@cii.in Shalini SHARMA Karan Solanki Neetu Sikka PALAIS -1 - 24.01

The Confederation of Indian Industry (CII) works to create and sustain an environment conducive to the development of India, partnering industry, Government, and civil society, through advisory and consultative processes. CII is a non-government, not-for-profit, industry-led and industry-managed organization, playing a proactive role in India’s development process. CII has been coordinating the India participation at the Cannes Film Market for over a two decades, positioning the Indian Entertainment industry on the global landscape. Apart from promoting select Indian states as ideal shooting locales globally, the CII pavilion would also be coordinating B2B meetings between Indian and international stakeholders. CII M&E Dept. every year organises its flagship conference CII Big Picture Summit and CII Summit FX. 134

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MEET US AT INDIA PAVILLION, 109 VILLAGE INTERNATIONAL, CANNES

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DEVENKY FILMS

ELEEANORA IMAGES

Rohit SHARMA • Head of Int'l Sales & Distribution • rohits@in.foxstarstudios.com

Anuj Tyagi • Director • info@eimagesindia.com • www.eimagesindia.com

Venkata Reddy Chennuri • Senior film manager Krishna Reddy Noothula • International sales manager Gangadhar Mandula • Film Manager Sanjith Jakka • Assistant Manager • www.devenkyfilms.com

Devenky films is a film production company based in South Indian city of Hyderabad.Till now 4 feature films have been made in this production company. The Indian Postman is the first feature film in English from this production company. Gandhis of Indian Jungles is the new English feature film from this company which will be screened at EFM 2018.

Eleeanora Images has produced over 70 documentaries, TVC’s, Short films and drama, two mega TV serials and four feature films. The larger aim, though, has always remained to produce cinema aimed at sections across the society, audiences, age groups and genres with a global perspective. The founder and managing director Nila Madhab Panda’s vision has shown the outcome through the organisation. The last two major film productions have been very successful. The highly acclaimed I Am Kalam, has already won 28 International awards, one national award, two Industry awards (Filmfare and screen) and several nominations, which travelled over 60 International film festivals. The second film “Jalpari the desert Mermaid” was critically acclaimed as well as well received by the audience. The company has been running several other programmes apart from film making. As the focus is about making quality cinema and also bringing development issues to mainstream cinema.

DIBYA CHATTERJEE (INDEPENDENT) EMPIRE NETWORKS

Dibya CHATTERJEE • writer director

Kavi Jumani• Managing Partner • empiremediaindia@gmail.com

A Writer, Director, creator - Dibya is a holistic film maker who has a penchant to tell stories that are slightly unusual in nature. He is the writer and co-creator of the highly acclaimed Indian Dark comedy show “Afsos “ commissioned by Amazon Prime Video streaming worldwide which released in 2020 and earned him two Filmfare nominations for best writing & best comedy series. IMDB https://www.imdb.com/ title/tt10174244/ Dibya has also directed several comm Objective I am currently looking for collaborators to work on an international Indian film with French co production that I am developing. I am also at various stages of writing commissioned multiple projects, and can looking for avenues to find partners.

DIMENSION PICTURES PVT LTD

Distributor of Foreign Filmed Entertainment in the India Subcontinent & MENA region.

ENTITY ONE ENTERTAINMENT SOLUTIONS PVT. LTD. Girish Wankhede • Buyer

Liaquat Ali GOLA • Proprietor

Anoop Kumar • Distributor

Laiz Ali GOLA • Associate • dimension.pictures@gmail.com

Jagjeet Singh • Distribution Manager • girishwankhede@hotmail.com • www.entity-one.com

Dimension Pictures Pvt Ltd. is a production and distribution company established by Liaquat Gola in 2020. They are primarily based in Mumbai. Liaquat Gola is also the Owner of Dimension Pictures, Founded in 2009. Under both Companies, they are a leading production/distribution house and content aggregator with affiliations to various digital platforms. They have already made a mark amongst the finest telecom and entertainment markets within India and overseas. 136

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Distribution of Hindi and Massati Films. Need foreign language films to be distributed theatrically in India.

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GANESH PICTURES AND KOTTARAKARA FILMS

GOLDEN RATIO FILMS PVT LTD

Ravi Kottarakara• Producer, Director • kotfilm@gmail.com

Jainendra Baxi • Writer - Director Hemant Mehta • Communication, Marketing Ashwini Chaudhary • Writer - Director - Producer

Ganesh Pictures and Kottarakara Films, headed by Ravi Kottarakkara, are oldest and reputed production houses. Inspired by his father’s film ‘Pasamalar’, Ravi joined his production company at a very early age during 1978. Acted in several films, his never ending frenzy and passion for the film industry persuaded him to learn editing, cinematography, and direction. He started to assist his father in all his film production activities. Fully involved in film production from 1982, 71 straight films were produced in the above banners in Malayalam, Kannada, and Tamil languages. Ravi has written & directed films in Kannada. Produced films that entered the National & International film festivals and won awards. Some of the films –ee shabdam enathe shbadam, adyathe kanmani, dosth. He has also distributed 76 foreign films in India.

GURU FILMS PVT LTD Ananthakumar Rengasamy • Producer Sadhana Raju • Producer

GOLDEN BIRD ENTERTAINMENT PVT LTD

• yuvrajkarthikeyan@gurugroup.co • gurugroup.in

Mohinder Walia• Managing Director • mohinder@goldenbirdentertainment.com • www.goldenbirdentertainment.com

Guru Film Private Limited (GFPL) is a premier film production company based out of Hyderabad, India. Created specifically to exploit the rapidly growing film industry of South India, GFPL plans to quickly capture and dominate the South Indian regional film market space. They have the first mover advantage in the bilingual market, with an aggressive agenda based on capitalizing on opportunities in film production. They want to invest in the creation, production and exploitation of media content through a diverse portfolio of South Indian language films.GFPL is currently engaged in building and leveraging a library of intellectual property across cinema, television, New Media and mobile technology. For GFPL, developing content is a continuous process. Over the last decade, they have worked on a repository of scripts. In 2009-2010, we line produced for a Mumbai production house, the much critically acclaimed Hindi film, ‘Shor In The City’. This film was rated the top 5 films of 2011.

International Film and TV Co-Production, Marketing, Distribution, and Funding Services: Golden Bird Entertainment, with its global Film and Television expertise in India, US, Canada, Latin America, UK, Europe, Australia, and Asia, and strong international partnerships including Hollywood studios, is uniquely positioned to be a “One-stop Shop” for worldwide line production, marketing, distribution, and funding services for Indian and International Film and TV projects. Global Market Expansion and M & A Services: We consult Indian and global media and entertainment companies for business development and market expansion in India and global markets including finding joint venture partners, investors, and facilitating M & A deals. The company would like to meet: 1) Clientele for: - International Film and TV Co-Production, Marketing, Distribution, and Funding Services - Indian and International Film and TV library content exploitation in global and Indian markets across multiple media platforms - Global Market Expansion and M & A Services 2) Clientele and Strategic/Financial Partners for their “Mumbai Media City”.

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HARSHAD NALAWADE (INDEPENDENT) Harshad NALAWADE • Writer - Director • harshad.nalawade87@gmail.com

Harshad Nalawade is a filmmaker from Belgaum, a disputed small town in North Karnataka, India. Follower is his debut feature film based on his own experiences of living as a linguistically marginalized community of the town. The film was shot by raising funds through crowdfunding and was also part of the NFDC Film Bazaar Work-in-Progress Lab, 2021. Harshad finished his Bachelors in Media Studies from Symbiosis University, Pune and currently working in Mumbai. He worked as an Assistant Director

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HIRO'S FAAR BETTER FILMS PVT. LTD.

INQUILAB STUDIOS

Jayant Jaiswal• Writer - Director - Producer • jayant@faarbetterfilms.com • www.faarbetterfilms.com

Prayas Deepti • Producer

Hiro's Faar Better Films or as popularly known, HFBF is an Indian production house based in Mumbai. The company has two Directors with 10 years of experience each in the Film & TV Industry in India and has successfully done several Ads, Music Videos, Events, Web Series and has recently ventured into Films.Jayant (Rocky) Jaiswal is a well known Public Figure, Innovator, Entrepreneur, Writer, Director & Producer known for his works and appearances on National Television and multiple TV shows and Movies along with several national and international events over the last decade is the Founder / Director of this company. Hina Khan is the biggest name from the Indian TV industry and is also known for her remarkable works in the Indian Reality TV shows along with multiple super hit music videos and highly popular TV Commercials, she has recently debuted in Films and has already signed 7 movies with a few releases in 2019, she is immensely popular on social networks and is followed by millions.

Inquilab Studios is a production house based in Amritsar, Punjab. They are seeking Co-Producers for their film The Spark which is playing in the section at HAF goes to Cannes.Its pioneering platform is targeting a niche market which intersects lifestyle, travel, sports and entertainment.

HLC STUDIOS

Iti ACHARYA • Actor, writer, producer

ITI ACHARYA (INDEPENDENT)

Sayantan Mukherjee • Marketing Manager Shailik Bhaumik • Writer & Director • info@hlc-tfc.com • hlc-tfc.com

HLC Studios is a unit of Human Lab Corporation, a leading digital media company based in Kolkata, India. They are looking for a suitable sales agent for distributing our feature film (Fiction) 'Burning Butterflies'. Burning Butterflies is a psychological Horror / Mystery / Fantasy film.

IMPACT FILMS Ashwani Kumar Sharma• Director • impactfilmsindia@gmail.com • www.impactfilms.co.in

Iti Acharya - Actor, writer, Producer, former Miss South India, World Peace Keeper Iti Acharya is a public figure, actor, content producer, former Miss South India, World Peace Keeper and a social worker. A graduate from NIFT, Iti started her career in the entertainment world as a Formula One Grid Girl, followed by participation in prestigious pageants like Miss India, Gladrags and finally became Miss South India 2016 which led her to films. She has played muse to Mastero photographer Dabboo Rat

JAICHENG DOHUTIA (INDEPENDENT) Jaicheng DOHUTIA • Filmmaker

Impact Films is a registered and certified Buyer of English and Foreign Language Feature Films for India Sub Continent. Some of its recent acquisitions are MADRES PARALLELAS by Pedro Almodovar, SPENCER by Pablo Larrain, A HERO by Asghar Farhadi, etc. The last few films distributed by firm are PARASITE, ANOTHER ROUND, CAPERNAUM, A FANTASTIC WOMAN,etc. The Company has its own Theatrical Distribution team and Production Network in Mumbai, India. It has a couple of films in Hindi language in Development. Their objective is acquisition of upcoming English & Foreign Language Feature Films for India Sub Continent. They are acquiring films across many genres with a particular eye for the Best of World Cinema and potential for festival awards and Oscar participation. They are looking for Co-Production partners for their own local projects as well as collaborating with International Producers on their upcoming feature films. 140

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Jaicheng Zxai Dohutia was born in Assam, India. He studied three-year Film & Video Editing in Jyoti Chitraban Film & Television Institute, Guwahati. His debut feature film Haanduk (The Hidden Corner) begs The Jury Grand Prize at 18th Jio MAMI Mumbai Film Festival 2016, Best Regional Film at 64th National Film Awards 2016, NETPAC Award for Best Asian film at ALIFF.

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JEEVI FILMS

LITTLE RED CAR FILMS

Bhavana Goparaju • Producer

Aditi Anand• Producer • info@littleredcarfilms.com • littleredcarfilms.com

Jeevi Films is founded by Bhavana Goparaju, Producer who started her journey with Mantra starring Kalki Koechlin, Rajat Kapoor as an Associate Producer. She Produced Award Winning Bengali Short Film Ek Poshla Rupkatha (In Loving Memory...), Co-Produced Maadathy, an Unfairy Tale which had a World Premiere in Busan Film Festival, 2019. Her latest production In The Belly of a Tiger is the first production from her boutique Production house Jeevi Films.

Little Red Car Films began its ride with film production and they have successfully parked themselves at marketing solutions, service production, technology solutions and script development; enthusiasts who work according to an old jungle saying – client walk in, worries fly out, everybody happy. The brainchild of Aditi Anand, LRCF has offices in Delhi and Mumbai that are equipped to service a wide range of clients.

KK PRODUCTIONS LUV FILMS LLP

Babu Mia• Production • ktvkonline@gmail.com • www.linkedin.com/in/kajalchoudhury

Priyamvada Agrawal• Screenwriter • ankur@luvfilms.in • www.luvfilms.in

Dangerous love in paris 2022-2023 development 2017-18 Long journey to Calcutta feature film 90 minutes 2009 burning Calcutta feature film 90 minutes 2014-15 Do or Die feature film in pre production 2017-18 Matriarchal Society in India docu 52 minutes 2007

LEGEND STUDIOS

Luv Films is an Indian film production company founded by childhood friends Luv Ranjan and Ankur Garg. Based in Mumbai, Luv Films produces and distributes feature films and within a short span of time has established itself as one of the prominent producers in the Hindi film industry. Notable films that have been released include Sonu Ke Titu Ki Sweety, De De Pyaar De, Malang and Chhalaang.

MAGIC ENTERTAINMENT

Sandeep Vinodkumar Singh • Director

Mansi Dovhal • Producer/Director

Shauzab Khan • Producer

Ravi Puravankara • Producer

Abhay Verma • Actor

Ridhima Pai • Actress

Meera Chopra • Actress

Raj Menda • Associate Producer

Sameer Shaikh • Creative Director • sameer@legendstudios.in

• me.magicentertainment@gmail.com • www.magicentertainment.in

The one and only hub for great cinema, electrifying hard-hitting, fearless untold content and celluloid kaleidoscopic dreams. Legend Studios tread a unique cinematic world where no other dares to go.

The Hinglish Film Exotic Bride is ready for international release. The company is looking for a worldwide distributor of the film.

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PEOPLE MAHARASHTRA FILM, STAGE & CULTURAL DEVELOPMENT CORPORATION LTD

MAGIC HOUR FILMS / FILM IN INDIA Samir Sarkar • Producer

Amit Deshmukh Honorable Minister of Cultural Affairs. Government of Maharashtra.

Ravi CHANDRAN • Director - Director of Photography

Ravindra Patil Yadravkar.

samir@magichourfilms.net • www.magichourfilms.com

Honorable Minister of State, Department of Cultural Affairs, Government of Maharashtra.

Established in 2008, Magic Hours Films is an award winning production company producing Feature Films, Documentaries & TVCs. Through its Production Services arm film in India, and offices in Mumbai, New Delhi & Singapore, it provides world class production support in the Indian subcontinent. The company has collaborated with some of the most acclaimed talents, reputed brands & respected production companies from across the globe. "JONAKI" is the latest feature film production (Official Selection IFFR2018) of the company. The company provides world class production services and support for feature films and documentary shoots in India. The company's recent projects include Aditya Vikram Sengupta's feature film "JONAKI", a feature film production for ARTE (Fr): "J'irai au Pays des Neiges", production support on Ang Lee's Oscar winning "Life of Pi", a docudrama by internationally acclaimed director Shekhar Kapur for Independent Films (UK); TVCs for several reputed international brands. Documentaries for NGC & Discovery

Saurabh Vijay. Honorable Secretary , Department of Cultural Affairs, Government of Maharashtra. Vivek Bhimanwar. Managing Director, Maharashtra Film, Stage and Cultural Development Corporation Ltd. Ashok Rane. Film Critics & Film maker. Manouj Kadaamh. Renowned Filmmaker & Screenwriter. Rasika Agashe. Director , Tiche Shahar Hona. ( City Personified) Siddharth Mishra. - Producer, Tiche Shahar Hona. ( City Personified )

MAISON SU ENTERTAINMENT

Mangesh Joshi. - Director, Karkhanishanchi Wari. ( Ashes on the road trip )

Supriya Suri• Founder-Producer • info@maisonsuentertainment.com

Archana Borhade. - Producer, Karkhanishanchi Wari. ( Ashes on the road trip ) Shankar Dhotre. - Director , Potra (The Phase ) Sameer Thorat. - Sound Designer. Potra ( The Phase.)

Maison Su Entertainment is a film production and service company that focuses on developing international co-production that has both commercial and arthouse potential whether it is a documentary or fiction film.Indian sub-continent territories.

MERCURY INTEGRATED Harshad Bhagwat • Director

Multilink Online Services Private Limited

Hemal Bhagwat • Director • iiftc@mercuryintegrated.com • www.iiftc.in

Santosh Mijgar • Director

Mercury Integrated is a boutique events and entertainment services company based in Mumbai, India. Mercury Integrated is the promoter of IIFTC - Asia's largest film locations show and CinePort - India's first film tourism focused magazine. India International Film Tourism Conclave (IIFTC) is a premier platform for film commissions, tourism offices and production services companies from around the world to showcase their locations, incentives and services to the Indian Film Industry. India is home to the world's largest film industry, producing nearly 2000 films annually. Significant number of these films - estimated over 200 annually, are shot in foreign locations in over 55 countries creating a large market of outbound film productions. Since its inception in 2013, IIFTC has worked with a single minded objective to bring the global film locations to the Indian film industry. 144

Maharashtra Film, Stage and Cultural Development Corporation Ltd, Dadasaheb Phalke Film City is the land of magic and it has always been the delight of Film and Television Producers, Technicians and Artistic since its inception in the year 1977. It is situated in Goregaon (East), and is spread over 521 acres of lush green and picturesque locations in suburbs of Mumbai. It is very rich in flora and fauna. Most of the Bollywood Producers, Actors, Technicians, reside in its close vicinity and post production facilities are also available in Film City itself or areas close by. It has wide and long roads of approximately 8 kms. For chase sequences and special effects. Khandala Bridge and Ghat have very beautiful and scenic locations for shooting like Kashmir valley. Temple and its surrounding matches for all types of shooting locations. More than 70 outdoor locations are available for construction of big sets like monumental films like Kranti, Mahabharat, Chankya, Babasaheb Ambedkar, Devdda

India Film Guide 2022

Vijay Chavan • Co-Director • srm.mijgar@gmail.com • www.multilinkworld.com

Multilink Online Services Private Limited started way back in 2008 as a garage startup, with a total 2 employees. The office space could hardly accommodate more staff or Infrastructure, but promoters were determined to succeed. Most of the day was spent in raising some money to develop an ecommerce platform and the rest of the time trying to develop a network of agents. Cannes Film Market

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MOUNTAIN MOTION PICTURES

NILAKSHI SENGUPTA COMMUNICATIONS. NSG FILMS

Ridham Janve • Writer - Director - Producer • ridham.janve@gmail.com

Nilakshi Sengupta• Founder | Director | Producer • nilakshisengupta@gmail.com • https://www.imdb.com/name/nm9726732/?ref_=fn_al_nm_1

Mountain Motion Pictures is an independent film production company established with a vision to produce artistic, edgy, intellectually stimulating and emotionally engaging films for Indian and international audiences. The company's first feature, The Gold-Laden Sheep and The Sacred Mountain (2018), Dir. Ridham Janve, premiered at Rotterdam and won awards including FIPRESCI at Hong Kong and the Young Cinema Award at the Asia Pacific Screen Awards 2019. Our second title, Room on a Tree, Dir. Amit Dutta, is in Pre-Production. The company is looking for co-producers for their latest feature film project, an action - adventure, period film, Ashwamedh (The Sacrifice), Dir. Ridham Janve. The project won the MPA APSA Film Fund in 2020. It has been selected by NFDC, India to be part of their curation for the Co-Production Night at Marche Du Film, Cannes 2022. Our main objective at Marche du Film is to explore international coproduction for the film.

Founded in 2000, the production house works in documentary and branded content creation. Till now almost 300+ films of different duration have been created for clients and networks. The company is currently looking for production collaboration and sales agents for their first feature Blue: The color of Guilt. Also looking for platforms and sales agents for our documentaries - The Indian Carnival - Durga Puja. English Language theatre of India. GRIT - A cut above.

NXT DIGITAL LTD Prakash P Hinduja • Managing Director • odilia.coutto@nxtdigital.in • www.nxtdigital.in

MULTIVISION MULTIMEDIA INDIA PVT LTD Sunil Udhani • Country Head • sunil.udhani@mvpworld.com

NXT Digital Limited, a part of Hinduja Group is India’s premier and only integrated digital television services provider, which is based on the revolutionary Headend-in-the-Sky or HITS platform.NXT Digital combines the benefits of cable and DTH technologies to provide a world class TV viewing experience. With NXT Digital's superior technology, amazing picture quality, immaculate support services and 650+ digital quality SD & HD channels over satellite,

Multivision Multimedia India Pvt Ltd is a major independent distributor of Hollywood films for All Rights in the Indian sub-continent. Released titles include "The Expendables 1/2/3, London Has Fallen, The Wolf of Wall Street, Chef, John Rambo, Olympus Has Fallen, The Raid 1/2, Piranha 3D/3DD, Monster Hunt, Monkey King 2, Dumb And Dumber To and more 200+ titles. The company is looking for long term relationships with established Production Houses/Sales Agents.

METRO PICTURES Amit JUMANI • Director • amit@metropictures.in • www.metropictures.com

Debasish Dutta • CEO & Managing Partner • orange@orangecorp.co • www.orangecorp.co

Orange Corp is a Venture Capital Company and Film Producers with their own integrated Production House. They are always in lookout for projects for co-producing from producers with past experience of at least 1 completed feature film in English and subsequent release in theatres during the past three years. The company's objective is to invest & produce content driven films for a global audience.

Leading Distributor of Foreign Films in the Indian Subcontinent region.

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PEOPLE

ORGANIC CINEMA.INC

PHI MOTION PICTURES

Pranav Sasidharan • Writer - Director

Raghu Naik • Writer - Director - Producer • phimotionpictures@gmail.com • www.phimotionpictures.com

Praveen James • Director

Organic Cinema.Inc outpaces changes in today’s rapidly evolving media landscape by bringing reputation, advocacy, brand, and business results to new heights. Offering a comprehensive suite of solutions and technologies that define, connect, and protect brands, Organic Cinema.Inc creates content that is raw, original, and organic to its core. They are devoted to innovation, creativity, passion and this is what drives them to work with a diverse group of people around the globe.

Phi Motion Pictures is an up-and-coming production house in India with a resume of work ranging from advertisements, short films, web series, and now our first feature film. They have worked in collaboration with established talent and production houses in India such as Roy Kapoor Films, Red Chillies, Hussain Zaidi, Mukta Arts, Times Studio, AltBalaji and more. They are now ready with the first independently produced, Hindi-language feature film “Mithyam - The False Truth”, a gripping investigative The company has completed their feature film and are interested to meet Sales agents, distributors and festival programmers who are interested in i

ORIIZON GLOBAL LLP

PICKLE MEDIA PVT LTD

Souvikk Dasgupta • Creative Producer • oriizon.admn@gmail.com

Natarajan Vidyasagar • Editor • nvidyasagar@gmail.com • www.pickle.co.in

Oriizon Global is a production company based out of India.The name stems from Oriental Zone and also from Orison or a prayer. Oriizon apart from productions will also work in fields to bring grassroots talent to tell their stories which will be a part of its CSR initiatives as well. Reality TV and Music is in Phase 2. The company is at present producing 4 feature films and one web series across countries which include India, Bangladesh, Singapore, US and France

Pickle is India’s media and entertainment business guide that positions India in the global markets and reaches out to decision makers. The objective of Pickle is to project the prospects of value added growth for the Indian media and entertainment industry within and outside India.Pickle bridges the information gap and does a reality check on where we stand in the Indian M&E space. The company's main objective is to enable creative and business professionals from India to work with overseas companies.

PANORAMA STUDIOS PICTUREWORKS

Rajat Goswami • Producer • rajat@panoramaspotlight.com • www.panoramastudios.in

Avinaash Jumani • Film Acquisitions and Sales Suvidhi Ruia • International Acquisitions

Panorama Studios, together with its subsidiaries and associates, is a diversified Indian film Studio with various business segments such as Production, Distribution, Talent Management, Advertisement, Syndication, Equipment rental and Line production. Panorama studios attracts the best talent in media and entertainment to create, package and deliver high quality cinema worldwide. The company's objective is to produce, distribute, market and exhibit visual entertainment worldwide thus ornamenting the market and business. Panorama Studios aims at achieving status of undisputed leader in the Indian Film & Entertainment Industry.

Dwiti Ved • International Acquisitions Prisca Mascarenhas • International Acquisitions • avinaash@pictureworksindia.com

PictureWorks is acquiring Hollywood and Foreign language feature films and documentaries for India and the Indian sub-continent territories. The company's main objective is film production.

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PUNE INTERNATIONAL FILM FESTIVAL

RAKHI MOTION PICTURES PRIVATE LIMITED

Aditi Akkalkotkar • Deputy Director • piff@piffindia.com • www.piffindia.com

Shubham MAHESHWARI • MANAGING DIRECTOR • shubham.maheshwari@icloud.com

Chairman & Managing Director Pune International Film Festival (PIFF) is of global standard and repute. The aim of the organisation is to attract the best in cinema to the culturally rich city of Pune. The festival also holds the responsibility of promoting the exhibition of unique national and international films, granting film awards in the international feature competition section, and celebrating documentaries. It has been jointly organized with the Government of Maharashtra since 2002 with great fanfare.

Abhay Kumar Sinha • Director General Hirachand Dand • Entertainment Panel Chairman

PVR PICTURES / PVR LIMITED

• javed.ahmad@servicesepc.org • www.servicesepc.org

Sanjeev Kumar • Joint Managing Director Kamal Gianchandani • President

The Ministry of Commerce and Industry, Government of India, with a view to give proper direction, guidance and encouragement to the Services Sector set up an exclusive Export Promotion Council for Services in the name of Services Export Promotion Council (SEPC). The Council since its inception in 2006 has been instrumental in facilitating exports of services through the following services: 1.Trade Intelligence: Trade Information, Market Analysis, Business Contacts, Business Opportunities

Deepak Sharma • COO Amit Bhasin • Consultant • rajesh.balijepalli@pvrpictures.com • www.pvrcinemas.com

SHEMAROO CONTENTINO MEDIA LLP

Founded in the year 2002, PVR Pictures Limited is the largest independent studio for the distribution of Hollywood films in India.100% owned subsidiary of PVR Limited, PVR Pictures is the motion picture arm of the largest cinema exhibition company in the country. It has released Academy Award Winners like– Room, The Hateful Eight, Amy, Oscar Winner Moonlight, Minari, The Father and many interesting titles namely The Founder, John Wick Series, Atomic Blonde, Wonder, The Courier, The Mauritanian The company's objective is to acquire all rights for Hollywood films and other language films for India, Nepal, Bhutan, Bangladesh, Srilanka, Maldives, Pakistan.

RAHAT KAZMI FILMS / INDIAN FILM STUDIOS Rahat Kazmi • Producer Meera Rautela • CEO - Producer Gupta Nidhi Alok • Publicist

Murtuza Kagalwala • Managing Partner • murtuza@contentino.in • contentino.in

Shemaroo Contentino is a leading content provider to Airlines globally for their Inflight Entertainment. With over 100 Airline clients across the world, Shemaroo Contentino is the fastest growing global distributor for Airlines. Providing content in over 20 languages, Contentino has one of the widest avails for Airlines. Contentino is on a path of expansion. They are working very aggressively to enhance their presence as a distributor of English movies and tv shows to Airlines Globally. The company's objective is to develop strategic partnerships with leading content distributors/production houses/sales agents to work with them exclusively for their Upcoming Movies and TV shows for Airlines & Ships Distribution.

SRI CINE HUB

• rahatkazmifilms@gmail.com • www.rahatkazmifilms.co.in

Rahat Kazmi Films is a film production house in Bollywood with four films in credit. Their first production; a feature film "Identity Card" an Indian film was critically acclaimed and well received in India, Canada and Africa. 2nd in the row is "RABBI" , a feature film releasing in 2016. Mantostaan is the 3rd feature film made in India ready to screen in world festivals before its theatrical worldwide release. The 4th film in the series is "Falooda" which is under production. 150

SERVICES EXPORT PROMOTION COUNCIL

India Film Guide 2022

Mathan Duraiswami • Producer • mathanrc@gmail.com • www.sricinehub.com

Film producer, film distributor

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SMILE FILMS / SIFFCY

STAR ENTERTAINMENT WORLDWIDE PVT LTD

Jitendra Kumar Mishra • Festival Director, Producer, Buyer • smilefilms.india@gmail.com • www.siffcy.org

Tripat Paul AGGARWAL • PRODUCER Rahul AGGARWAL • Director • tp@starentertainment.in • www.starentertainment.in

'Smile Films / SIFFCY’ was formed by India's leading development organisation 'Smile Foundation' in 2015 with an objective to engage, entertain, educate & empower young minds through Good Cinema and related capacity building workshops. Major activities include the annual film festival and forum that takes place in New Delhi for seven days, a unique VOD Platform of Good Cinema from across the world for young audiences and round-the-year capacity building workshops across the country. The main objective of the company is to acquire meaningful and inspiring global content for their VOD Platform and Annual Film Festival www.siffcy.org . To collaborate with like minded filmmakers, producers, distributors, sales agents and related organizations to explore opportunities in creating value based content as well as to bring international meaningful audio visual content for Indian audiences. Feature Films, TV Commercials and Corporate Films in India.

Star Entertainment Worldwide Pvt. Ltd. was started in the year 1995. Though the M.D. Mr. T.P. Aggarwal had already been producing films (for eg. Return of Jewel Thief 1996), with this company he proposed to take one step ahead to keep up with the increasing demands and new avenues opening up for this industry. Very soon in the near future, with his great vision he even plans to take this company public. Currently financing and producing star entertainments pvt. ltd. is always on the look out for young talents, creative personnel, not only for the cinema but also for the small screen.

STONE BENCH Kaarthekeyen Santhanam • Producer - CEO Ashok Narayanan • ashok@stonebench.co.in • www.stonebench.co.in

STAR ENTERTAINMENT P LTD

Stone Bench is one of the leading production houses started in 2014 based in Chennai, India. Started with a vision to give an impetus to new talent and content it has on its journey thus far encompassed production, direction & execution of Feature Films and OTT content that includes Original Films and Web Series.The company has as its creative head Karthik Subbaraj who co-founded this along with Kaarthekeyen Santhanam and Kalyan Subramanian.

Jiten Hemdev • CEO Kimaya Hemdev • Head Of Business Development • jiten@starentertainment.co.in • www.starentertainment.co.in

Star Entertainment is India’s most reputed oldest Independent English Film Distribution Company since 1985, which continues to successfully distribute Hollywood Blockbusters and Entertainment/Animation TV programs in the Indian subcontinent . They provide India’s cinemas,TV stations and VOD Platforms with some of the World's best Independent Films, Animation, Comedies, Sport Specials, Documentaries, Sit-coms, Educational programs carefully sourced worldwide.We also buy remake rights of Films The company aims to acquire Big Budget, Star Cast/Special Effects laden International films for theatrical release simultaneous with USA release! To acquire Classics and Popular Hit films from the past for TV /VOD/ Internet To acquire Animation, Educational, Children and Special interest programs, TV comedies, TV serials To sell Indian film and animation content worldwide,We also represent KABZAA -action- 15million USD budget--releasing July 2022 in cinemas in 5 languages

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STORYTELLER'S NOOK PVT LTD Addinath Kothare • Producer • addinathmkothare@storytellersnook.in

Storyteller’s Nook is a platform that empowers ideas. If a writer or filmmaker has a dream to produce his own idea, Storyteller’s Nook Pvt. Ltd. is the nook at which he could make his dreams come true. Storyteller’s Nook Pvt. Ltd. not only believes in the power of storytelling, but also in the potential of the storyteller. The future of Cinema will be ruled by content emerging from the most unexpected nooks and corners of the world.

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STUDIO BLACKLINE

TOONZ MEDIA GROUP

Paolo Luigi De Cesare • Script Strategist • info@studioblackline.co • studioblackline.co

Prabhakaran JAYAKUMARI • CEO • swapna.pankajakshan@gmail.com • toonz.co/about-us

New Blackline is a Film Development Studio specialising in concept creation, film research, screenplay and teleplay writing, script doctoring, and all kinds of film development services. They distinguish themselves by working with content strategists to develop pitch-ready proposals, scripts and treatments during the development phase and working as your all-needs-covered script specialists throughout preproduction and production.

Toonz Media Group is a global leader specializing in creating top class entertainment content on various media and consumer platforms for kids and families across the world. With an incredible legacy of more than two decades in the industry, Toonz specialises in high quality content creation, production, distribution, digital media exploitation, licensing & merchandising, gaming, AR/VR & other emerging technologies, and animation academics.

SUNSTONE ENTERTAINMENT

UNCOMBED BUDDHA FILMS LTD International Independent Film Production

Sanjay Jumani • Buyer - Seller • sunstonebollywood@gmail.com

Harsh AGARWAL • Producer - CEO • harshagarwal20@gmail.com • www.uncombedbuddha.com

India's leading motion picture distribution, production company & joint ventures in Bollywood having business over 46 years acquiring rights for India of Hollywood Movies & Supplying Bollywood to rest of the world over three decades. They have rights in all formats of films with subtitles and dubbing in several world languages in all formats Theatrical, DVD, Cable TV, In flight Entertainment, Terrestrial TV, V.O.D, You Tube & Internet rights, mobile, Digital Media & world Satellite Rights. Their objective is to buy Hollywood Films for India , Joint Ventures in Production in India and to market Bollywood titles to different Countries in the world. They have over 100 Indian titles to offer under one roof with superstars like Amir Khan, Salman Khan, Shahrukh Khan, Aishwarya Roy & many others.

Into International Independent Film Production

VAISHNAVE MEDIAA WORKS LIMITED Kutty PADHMINI • Managing Director • vaishnaves05@gmail.com • www.vaishnaves.com

SUPERFINE FILMS Kamal Jain • CEO - Managing Director superfinefilm@gmail.com

The beginnings of Vaishnave Mediaa Works Limited can be traced back to the year 1986. Incorporated in 1993, the company sought to change the face of Indian television series. Emerging as one of Asia’s trustworthy and dynamic media entertainment companies, the company spread its wings across the continent of Asia.

www.superfinefilms.net

Under the dynamic aegis of Kamal Jain - Superfine films, Superfine Films Pvt Ltd along with its sister concern Superfine Films International LLP together have been at the helm of acquiring top-of-the-notch commercial entertainment contents for India & Sub Continent for last over three decades.Superfine group of companies are well recognized with immense repute by almost all major International Films/ TV sales/Representative Companies, thereby giving Superfine a name of trust, repute & reliability

Vaishnave Mediaa Works Limited was one of the leading entertainment production companies in India. Apart from the growth of the company, VMWL has a strong list of very successful artists, technicians, musicians, directors, cinematographers and other creative personalities who have grown with this company. The company has also worked with many famous personalities.

The present primary objective and focus is to acquire all rights for commercial driven, action, adventure, special effects, fantasy big budget genre films and programs with 'A' credits or franchise films for India and sub-continent which can be exploited in all the platforms in India & sub-continent.

The main focus of the company is predominantly in South Indian Series production. The company stands testament to over 33,000 hours of production of serials in various genres on Television & OTTS, Documentaries and events. The company believes that television entertainment must be diversified and hence was branched out from being just a television production house, and undertook various entertainment and marketing based projects.

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VFA FILMS AND MUSIC

YES BE CREATIVE

Fatima Khan • Film Producer • info@vfafilmsnandmusic.com • www.vfafilmsandmusic.com

Sajan Balan • Writer - Director - Producer • sajan.balan@yesbecreative.in • www.yesbecreative.in

VFA Films and Music stands for creativity and excellence in cinema. The company passionately summarises and portrays the stories as if we’re living them, characterised by the beauty of direction and symphony of music.

Yes Be Creative is a film company based in Kerala, India producing short films and feature films. ‘Backwards’, India’s first silent science fiction short film, fully shot in Switzerland, and successfully screened in seven film festivals worldwide. ‘Thuruth’ (Island) is the first feature film production by Yes Be Creative.

WINDCOLOUR STUDIO PVT. LTD. YM MOVIES PRIVATE LIMITED

Sandeep Mohan • Filmmaker • sandeepthemohan@gmail.com • www.sandeepmohan.in

Rahman ALLAHRAKKA, Director/Music Composer

Windcolour Studio is a collective of like minded creative professionals engaged in Independent Content based Feature Films, TV Commercials and Corporate Films in India.

Ameen ALLAHRAKKA, Singer Nikhil Vasant NARKAR Business Manager Hashim Zain MOHAMED NIZAR Editor Sairaa RAHMAN, PRODUCER Raheema RAHMAN, Singer

YEN MOVIES

Abdul Haiyum MAHADOOM MANAGER

Yusuf Shaikh • film producer, distributor, acquisitions, exhibition • yusufmshaikh@gmail.com

Anand Kishore THAIKKENDIYIL Editor Viviane Genevieve Odette CHAIX Executive Producer Sreerag VEERA RAGHAVAN

Yusuf Shaikh is a film producer/distributor/ aggregator/ exhibitor/ director from India producing indie films and acquisition of ready films as a last mile producer. With experience of more than 100 films, he also helps in production/ co-production and post-production service. He also does excellent campaign and packaging for marketing films.

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YM Movies Private Limited is a Private incorporated on 22 January 2010. It is classified as Non-govt company and is registered at Registrar of Companies, Chennai. Customer centricity is at the core of YM Movies Pvt Ltd in Kodambakkam, Chennai and it is this belief that has led the business to build long-term relationships. Ensuring a positive customer experience, making available goods and/or services that are of top-notch quality is given prime importance. Rahman Allahrakka is the director and music composer, Ameen Allahrakka is the singer, Nikhil Vasant Narkar is the business manager of this company

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PEOPLE

INDIAN PANORAMA FUTURE FILMS

FILMS

independent people

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Anjali Patil

Director

Juliette Grandmont

Attachée audiovisuel jgr@ifindia.in

Jai Shankar

Writer - Director jaishnkr15@gmail.com

Kartikeya Narayan Singh

Producer

Maheen Mirza

Representative, ektara collective ektaracollective@gmail.com

Mayur Paatel

Founder

Namgyal Phuntsok

Writer - Director - Producer

Nila Madhab Panda

Writer - Director - Producer

Rajesh Jala

Producer - Director rajeshjala@gmail.com

Shailendra Sahu

Cinematographer

Suresh Krishnaji Chavan

Screen Writer, Producer, Director

Umesh kulkarni

Producer

Vijay Jayapal

Filmmaker

India Film Guide 2022

Indian films for sales and syndication at the Cannes Film Market

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INDIAN PANORAMA FUTURE FILMS

SEMKHOR

INDIAN PANORAMA FUTURE FILMS

Diro belongs to the Samsa community in Semkhor. When Diro dies, his wife, who worked as an assistant mid-wife, takes care of their three children. She gets her only daughter Muri, aged just eleven, married to Dinar. Unfortunately, Muri dies after giving birth to a girl child. As per the custom of Semkhor, if a woman dies during child birth, the infant is buried alive along with the mother. But Diro’s wife protects Muri’s infant, indicating a new dawn in Semkhor.

Dr. Sanjay Sen, an NRI Oncologist, arrives in Kolkata to archive the life of actor Soumitra Chatterjee, one of the stalwarts of the golden era of Bengali cinema. At first, Chatterjee turns him down. But he eventually allows Sen to film him on his life, experiences, philosophies and setbacks. What Dr. Sen takes back home is not just a film which brings forth different facets of the actor’s life and career, but also a very deep sense of life and a renewed philosophy about existence itself.

Director: Aimee Baruah Producer: Mala Baruah Screenplay: Aimee Baruah, Jintumoni Kalita, Uday Bhaskar Patar DOP: Pradip Daimary Editor: Rantu Chetia Cast: Aimee Baruah, Prateek Hagjer

Director: Parambrata Chattopadhyay Producers: Ratanshree Nirman, Roadshow Films Screenplay: Parambrata Chattopadhyay, Padmanabha DOP: Appu Prabhakar Editor: Sumit Chowdhury Cast: Soumitra Chatterjee, Jisshu Sengupta, Prambrata C.

Dimasa | 2020 | 93.36 Mins | Colour

2021 | Bengali | 161 Mins | Colour Geetha, a pregnant widow, has been going through a long and continuous ordeal to get money already sanctioned to her by the government. Tired of being asked for bribes, Geetha one day takes the violent route to get her due when she lands up with a bomb strapped on her stomach. The film highlights the common man’s struggle to break through the various stages in the governing machinery and bureaucracy before any benefits/policies reach the ordinary citizens.

A middle-aged lady runs a tiffin service by herself as well as performs her duties as a wife, mother, daughter, sister and a friend. Her daughter Nitu notices that her mother plays all her roles well, yet something was amiss in her behaviour. Things change when a young boy named Dhruv, who comes to the lady as the 21st customer of her tiffin service, begins to appreciate her. This sudden entry of little admiration takes away the affliction in the lady’s behaviour. Director: Vijaygiri Bava Producer: Vijaygiri Filmos Screenplay: Raam Mori, Vijaygari Bava DOP: Parth Chauhan Editor: Alok Mehta, Vijaygiri Bava Cast: Niilam Paanchal, Raunaq Kamdar, Netrie

21st TIFFIN 2020 | Gujarati | 88 Mins | Colour

160

ABHIJAAN

India Film Guide 2022

Director: Mansore aka Manjunatha Somakesha Reddy Producer: D Creations Screenplay: Veerendra Mallana, Dayanand T.K. DOP: Satya Hegde Editor: Nagendra K. Ujjani Cast: Mahavir Sabannavar, Yajna Shetty, B. Suresha, Pramod Shetty, Shruthi H. Cannes Film Market

ACT-1978 Kannada | 2020 | 127 Mins. | Colour

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INDIAN PANORAMA FUTURE FILMS Saguna, 22, arrives along with several sugarcane cutters to work in the sugarcane fields in Beed. She is determined to work hard and help her father repay his debt. When she misses work for three days due to menstruation, she is fined heavily. She is even advised to undergo hysterectomy so that her work doesn’t stop. She is shocked to learn that this is the rule for all. It’s a situation Suguna and her fellow women cutters can neither avoid nor escape.

When Jai arrives at his estranged wife Mitali’s flat to discuss divorce details, she’s with Ravi whom she wants to marry. Ravi prepares to leave them alone to settle matters, but the lockdown strikes, and the three are locked into the apartment block. Soon, jealousy and regret take over Jai. As passion sparks violent reactions between three individuals caught in their personal dilemmas, will it destroy lives, or will the journey inward help these tormented souls find their own, stable orbits?

ALPHA BETA GAMMA Hindi | 2021 | 119 Mins. | Colour

Director: Shankar Srikumar Producers: Choti Film Productions & Knownsense Entertainment Screenplay: Shankar Srikumar, Menka Sharma DOP: Karthik Kumar Bhagat Editor: Mandar Sawant Cast: Amit Kumar Vashishth, Nishan Nanaiah, Reena Aggarwal

Marathi | 2020 | 100 Mins | Colour

The film is about a primary school located near the banks of the Brahmaputra River, which is the life line of many tribes in Assam. The main struggle of the teachers of the school is to keep it running. Reason? It has only one student, named Boomba. But a time comes when the school is on the verge of collapse. Boomba with his wisdom saves his school making all of them realise that what education can do to a society.

Shandilyan is a disciple of Parivrajaka, a Buddhist monk. He comes across with a courtesan, named Vasanthasena. As a result of Yamdoot’s carelessness, Vasanthasena dies on spot, leaving Shandilyan devastated. Unable to witnes s Shandilyan’s lamentation, Parivrajaka transfers his soul to the body of Vasanthasena. What follows is a series of humorous events due to the collision of two different worlds. Director: Yadu Vijayakrishnan Producer: Story Book Production Screenplay Writer: Aswathy Ambika Vijayan, Yadu Vijayakrishnan DOP: Vipin Chandran Editor: Pradeep Shankar Cast: Pradeep Kumar, Jishnu V. Nair, Parvathy V. Nair

BITTERSWEET

BHAGAVADAJJUKAM

Director: Biswajeet Bora Producer: Quatermoon Productions Screenplay: Biswajeet Bora DOP: Jiten Boro, Atul Sargiyari Editor: Biswajeet Bora Cast: Indrajeet Pegu, Sadagar Dao, Hiranya Pegu, Dipali

Sanskrit | 2020 | 78 Mins | Colour

162

Director: Ananth Narayan Mahadevan Producer: Quest Films Pvt Ltd Screenplay: Ananth Narayan Mahadevan DOP: Alphonso Roy Editor: Ananth Narayan Mahadevan, Kush Tripathi Cast: Akshaya Gurav, Suresh Vishwakarma, Smita Tambe

India Film Guide 2022

BOOMBA RIDE Mishing | 2021 | 76 Mins | Colour

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INDIAN PANORAMA FUTURE FILMS Set in present day Nashik, a city in Maharatshtra on the banks of the river Godavari, the film is about a grumpy landlord and his family members who have to cope with two deaths: one they know about and another that they aren’t prepared for. This sets the landlord on a spiritual journey, starting his relationship with the Godavari River. ‘Godavari’ is a deep philosophical exploration of life and death

Bhadra leads a team of Dollu drummerdancers. As money takes precedence over passion, the team leaves their village and lands in an unforgiving metropolitan city, Bengaluru. Bhadra realises that their village temple’s annual rituals would remain incomplete without the team’s performance. To keep the centuries’ old tradition alive, he decides to reunite the team. His realisation that art isn’t defined by the constructs of the society, and the hardships he faces in his mission forms the crux of the film.

DOLLU Kannada | 2020 | 106 Mins. | Colour

Director: Sagar Puranik Producer: Wadeeyar Movies LLP Screenplay: Shreenidhi D.S. DOP: Abhilash Kalathi Editor: BS Kemparaju Cast: Karthik Mahesh, Nidhi Hegde, Chandra Mayur, Babu H.

Marathi | 2021 | 115 Mins. | Colour

biopic is full of exciting events which shaped his life and his music. Such as: his special friendship with P.L. Deshpande and Begum Akhtar, life in Indian Military Accounts, learning music in Lahore to his posting to the Indo-China border during the 1962 war, and finally performing in the play ‘Katyaar Kaljaat Ghusli’.

EIGHT DOWN TOOFAAN MAIL Hindi | 2020 | 97.18 Mins. | Colour

164

GODAVARI

The film shows how Vasantrao, who was born in Vidarbha, Maharashtra and raised in Nagpur by his mother singlehandedly, became the Hindustani Classical maverick Pandit Vasantrao Deshpande. The

A woman landed at the New Delhi Railway station in 1974 and claimed she was the Queen of Awadh. She asked to meet Prime Minister Indira Gandhi. She was the living answer to the question, ‘How do you become a Queen?’ This film is an almost-heist based on believeit-or-not true events from the 1970s at the New Delhi Railway Station with Nawabs from Awadh, reporters from BBC, the station master, a rickshaw puller, and a queen. Director: Akriti Singh Producer: Storia Senza Storia Screenplay: Akriti Singh DOP: Shaurya Aggarwal Editor: Akriti Singh Cast: Akriti Singh, Surya Rao, Arshad Mumtaz

Director: Nikhil Mahajan Producer: Blue Drops Films Screenplay: Prajakt Dekhmukh, Mikhil Mahajan, DOP: Shamin Kulkarni Editor: Hrishikesh Petwe Cast: Jitendra Joshi, Gauri Nalawade, Vikram Gokhle

India Film Guide 2022

Director: Nipun A. Dharmadhikari Producer: Antarnaad Entertainment LLP Screenplay: Nipun Avinash Dharmadhikari, ME VASANTRAO Upendra Sidha DOP: Abhimanyu Dange Marathi | 2020 | 180.3 Mins. | Colour Editor: Faisal Mahadik, Imran Mahadik Cast: Rahul Deshpande, Anita Date, Pushkaraj Chirputkar Cannes Film Market

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FUNERAL

INDIAN PANORAMA FUTURE FILMS

Heera is a lower-middle class businessman who is into the world of funeral rites and procession. In the film Heera asks an uncanny question: when a human being is born, he cries but the whole world around him is happy. When a human being dies, he is silent and the whole world around him cries. Why is that? Meanwhile, Heera creates customized funeral processions for the dead, through which the families can bid goodbye to the deceased in a memorable way.

On an unbearably hot day, Ganapathy, an alcoholic wife beater, embarks on a journey to an arid hamlet located 13 kms away to bring back his wife who has deserted him. He drags along his young son Velu. Their journey is fraught with the scorching heat and deserted terrain. On reaching, he learns that his wife has left for their home. Frustrated, he gets involved in a brawl. An annoyed Velu tears up the bus ticket, forcing the father-son to walk back home under the blazing sun.

Director: Vivek Dubey Producer: Before After Entertainment Screenplay: Ramesh Maruti Dighe DOP: Anurag Solanki Editor: Nilesh Gavanad Cast: Aroh Velankar, Prema Sakhardande, Vijay Kankare

Director: Vinothraj P.S. Producer: Rowdy Pictures Screenplay: Vinothraj P.S. DOP: Vignesh Kumulai, Jeya Parthi Editor: Ganesh Siva Cast: Karuththadaiyaan, Chellapandi

2020 | Marathi | 125.4 Mins | Colour

Tamil | 2020 | 76.59 Mins | Colour

In the middle of a pandemic, an apathetic but adept doctor is taken hostage by a young woman in a desperate attempt to ensure safety of her family. Captive in an almost desolate house with three women – the paranoid young woman along with an amnesic old woman and a lonely young girl – the doctor discovers that forces beyond his comprehension are at play and he might be trapped not only in space but also in time. The film explores the sense of dread and temporal stasis generated universally by the pandemic. Directors: Rajdeep Paul, Sarmishtha Maiti Producer: Aurora Film Corporation Screenplay: Rajdeep Paul, Sarmishtha Maiti DOP: Rana Pratap Karforma Editor: Sarmishtha Maiti, Rajdeep Paul Cast: Tannishtha biswas, Janardhan Ghosh, Sreelekha Mukher

166

KOOZHANGAL

Kolkata-based Manik leads an ‘uneventful’ life which revolves around his father, his plants, the strays he feeds, the spider, the ants and the house lizard. When his father passes away, the world around him begins to falls apart. Suddenly, he meets someone that changes his life. What unfolds is a surreal romance between a cloud and a man, which propels Manik into a roller coaster journey of faith, betrayal, belief and warmth.

KALKOKKHO

Director: Abhinandan Banerjee Producer: Little Lamb Films Pvt Ltd Screenplay: Abhinandan Banerjee DOP: Anup Singh Editor: Abhro Banerjee Cast: Chandan Sen, Nimai Ghosh, Debesh Rou Chowdhury

Bengali | 2021 | 125 Mins. | Colour

India Film Guide 2022

MANIKBABUR MEGH Bengali | 2021 | 95 Mins. | Colour

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INDIAN PANORAMA FUTURE FILMS Eight-year-old Poonjan earns his living by fishing in the back waters and looks after his family. One day, he sees a lost blind man sitting alone in the boat jetty. But all the old demented man can remember is a certain tree full of parrots in front of his house. Poonjan decides to help and tries to find the way to the blind man’s home, asking directions to acquaintances and strangers enroute. Just when he is about to give up, they hear the sound of parrots.

Sithara is a talented classical dancer from the ancient village of Natyam in Andhra Pradesh. She has grown up learning dance in the village which has many dancecentric schools or Kalakshetras. Eager to prove her worth as a dancer, she hopes to resurrect her guru’s forgotten masterpiece choreography by narrating the story of Kadambari. She believes that to dance is to tell a story that can change our world. But she her move may invite trouble in the village.

NATYAM

Director: Revanth Kumar Korukonda Producer: Nishrinkala Films Screenplay: Revanth Kumar Korukonda DOP: Revanth Kumar Korukonda Editor: Revanth Kumar Korukonda Cast: Sandhya Raju, Kamal Kamaraj, Rohit Behal, Aditya

2020 | Telugu | 136 Mins | Colour

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Niraye Thathakalulla Maram Malayalam | 2021 | 90 Mins. | Colour

Arun is an ice-cream seller from Haldibari, a border town in West Bengal. He happily travels through the remote areas of rural Bengal for work. When he learns about an upcoming village fair in a nearby area, he plans to visit it. During the travel, he encounters different kinds of people – some try to help him reach his destination while others mislead him. He experiences setbacks and surreal events which teach him the meaning of love and life.

Ten-year-old boy Sidda is born and raised in a village situated near a dense forest. Due to some unavoidable circumstances, his family is forced to move to the city. An internal conflict emerges within Sidda as he explores the dense forest and sustainable living against the chaotic hustle of the city where he feels alienated. Inspired by the folktales his grandfather narrates, Sidda learns to explore all options before making the important decision of returning to his roots. Director: Ganesh Hegde Producer: Rectangle Studios Screenplay: Ganesh Hegde DOP: Vishnu Prasad Editor: Prashant Pandit Cast: Aman S. Karkera, Gopalkrishna, Nidhi Hegde, U.V. Nan

Director: Jayaraj Producer: Navaneeth Films Screenplay: Jayaraj DOP: Shinoob T Chacko Editor: Vipin M G Cast: Master Adhithyan, Narayanan Cherupazha

NEELI HAKKI Kannada | 2020 | 109 Mins | Colour

India Film Guide 2022

Director: Satrabit Paul Producer: Reflexion Media Screenplay: Satrabit Paul DOP: Uttaran Dey Editor: Uttaran Dey Cast: Amit Saha, Nimai Shasmal, Tamojit

Cannes Film Market

NITANTOI SAHAJ SARAL Bengali | 2021 | 84.5 Mins

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Saibu and Ram Rao are two old and lonely villagers, who have been isolated and neglected by their families. Together, they are searching for the meaning of love and life. When Saibu takes his own life, Ram is distraught. Following Saibu’s last wish, Ram embarks on a journey to find a place where no one is judged. During the journey, he meets with an accident and loses his memory. Will Ram be able to find the duo’s final resting place?

After losing everything that he had earned in life, Sunny smuggles himself back from Dubai to Kerala in midst of a pandemic. He shuts himself from society and has one plan: to end his journey in the next seven days, by killing himself softly and slowly. In the process, he befriends a bunch of strangers who add different shades to his already murky plan. These seven eventful days draws up a chronicle of his mind, his faith and his eventual fate. Director: Ranjith Sankar Producer: Dreams N Beyond Screenplay: Ranjith Sankar DOP: Madhu Neelankandan Editor: Shameer Muhammad Cast: Jayasurya

Director: Mehul Agaja Producer: Eeffronn Entertainment Screenplay: Mehul Agaja DOP: Ramesh Bhosle Editor: Manish Uadhyay Cast: Shayaji Shinde, Prabhakar Ambone

NIWAAS

SUNNY

Marathi | 2021 | 87 Mins. | Colour

Malayalam | 2020 | 92 Mins. | Colour

The film revolves around a young boy Sijou of Saikhong Guri village, near Indo-Bhutan border in Assam. He is a jovial kid and loves to play with his friends. His life takes an unfortunate turn when he becomes a victim of the Feudal Land Tenure System. The FLTS was in practice in Bhutan, and also affected people living near the Indo-Bhutan border areas until it was abolished in 1958. The subsequent turn of events turns the boy into a monk. Director: Vishal P. Chaliha Producers: Vishal Films & Shivam Productions Screenplay: Vishal P. Chaliha DOP: Ashutosh Kashyap Editor: Bishal Sarmah Cast: Bijit Basumatary

Kunna, a mentally-challenged youth, inherits his intense love for nature from his father. After his father’s demise, Kunna grows up with his mother, working as a daily labour in a state nursery. The government sanctions a road to connect their village to the highway. The local MLA manipulates the road plan, now requiring felling of many trees, to safeguard his lands. Opposing the tree felling, Kunna manhandles the government officers and gets arrested. Will he be able to save the trees?

SIJOU 2020 | Bodo | 120 Mins | Colour

170

India Film Guide 2022

Director: Praveen Krupakar Producer: Kripanidhi Kreations Screenplay: Praveen Krupakar DOP: Ashok Cashyap Editor: B.S. Kemparaju Cast: Sanchari Vijay, Mangala N., Chaitra Achar, Ramesh P.

Cannes Film Market

TALEDANDA Kannada | 2020 | 132 Mins. | Colour

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INDIAN PANORAMA Non FEATURE FILMS 2021

The film tells the story of filmmaker Ved Parkash and his journey of conquering the world of newsreel filming during 1939-1975. His extraordinary works included the news coverage of Mahatma Gandhi’s funeral in January 1948, which was nominated for the British Academy Awards in 1949; the change of power when India became independent; the tragedy that followed India’s partition, etc. A large part of the visuals of India and its tumultuous formative years is a gift of his hard work and aesthetics.

Ved…The Visionary 2021 | English | 63 min. | Colour & B&W

Director: Rajiv Parkash Producer: Ved Films Screenplay: Rajiv Parkash, Lubhani Parkash, Bijesh DOP: Rajiv Parkash Editor: Sonvir Singh, Vishal Sharma Cast: NA

In a parallel world, Bablu is a lonely old man who works for ‘Babylon’, a company that owns all the trees and plants. When Bablu is sent on his last assignment by his employer, he accidentally encounters a rebel group which is planning a secret mission against ‘Babylon’.

Puppetry in Odisha is considered as an art form that is almost dead. It is the only state that can boast of having four forms of puppetry the shadow, the rod, the string and the glove. The film explores the life and times of three veteran puppeteers who have contributed to the growth and survival of the forms. One of them after twenty-five years of silence wants to rebuild a troupe start travelling and performing searching for new audience. Director: Lipka Singh Darai Producer: Films Division Screenplay: Lipka Singh Darai DOP: Indraneel Lahiri Editor: Lipka Singh Darai

Backstage 2020 | Odia | 85 min. | Colour

This documentary assesses and critiques the work of the celebrated playwright and theatre director Badal Sircar. Using his journey as the central theme, the film explores the relevance and impact of Alternative Theatre (or the Third Theatre) in the global context. It features debate among the experts on the theory and practice of Alternative Theatre. It concludes on an enigmatic note as the great man disappears into the madness of his solitary creativity, leaving all of us to debate his significance.

Director: Abhijeet Sarthi Producer: SRFTI Screenplay: Abhijeet Sarthi DOP: Tarak P. Tej Editor: Abhishikta K. Cast: NA

Bablu Babylon Se 2021 | Hindi | 40 min. | Colour

Director: Ashoke Viswanathan Producer: Eastern Zonal Cultural Centre Screenplay: Ashoke Viswanathan DOP: Sanatanu Banerjee Editor: Sounak Roy Cast: Badal Sircar, Pankaj Munshi, Kamal Roy

Badal Sircar & the Alternative Theatre 2021 | English | 54.17 min. | Colour

172

India Film Guide 2022

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INDIAN PANORAMA Non FEATURE FILMS 2021

The film unveils the meaning and physical entity of Bharat through archaeological, historical and textual evidences. It shows how upward movement of tectonic plates formed the geographical land of India, which may have inspired Yoga in Indians leading to self-liberation. India’s plentiful natural resources gave Indians the feelings of Earth being our mother which inculcated values of democracy, diversity and integrated vision. In the end the film asks: having lost the culture to communicate with the nature, have we truly progressed?

Bharat, Prakriti Ka Balak 2021 | Hindi | 64 min. | Colour

Directors: Dr. Deepika Kothari, Ramji Om Producers: Vishuddhi Films & Desh Apanayen Sahyog Foundation Screenplay: Ramji Om DOP: Ramji Om Editor: Santosh Rout Cast: NA

This film documents the life of social worker late Rajaram Tiwari (1928- 2016) also known as ‘Bhule Bhatke Walon ka Baba’ (the saviour of the lost ones). He helmed the ‘Khoya Paya Sibir’ (Lost & Found Camp) at Prayagraj for more than 70 years. He worked in five Maha Kumbh Mela, seven Ardh Kumbh Mela and 54 Magh Melas. He founded the camp in 1946 and it was his lifetime mission to reunite the pilgrims lost from their families.

Ganga Putra: The Journey of a Selfless Man Malayalam | 2021 | 90 Mins. | Colour

‘Gajra’ is one such unconventional metaphor that bridges the two different worlds of Mr. Agarwal, an aristocrat, and Ramakant, his humble chauffer. The film displays a sublime outcome of a peculiarly ‘Human’ experience they both share on one fine day, thereby enriching Mr. Agarwal’s life vis-à-vis Ramakant. It shows how in a single day a series of ‘Now’ moments unfold into experiences from Dawn to Dusk for Mr. Agarwal that leave him in an abstract feeling of contentment.

A painter, stuck during the Covid-19 pandemic, starts listening to a beautiful ‘Khayal’ composition. As the legendary Indian classical musician gets in the process of imagination while singing, the painter participate swith him through his imagination. After a while, the painter finds himself performing with him on a strange transcendental ground, leading to a ‘jugalbandi’. In Indian classical music, julgalbandi roughly translates to a duet.

Director: Vineet Sharma Producer: Vineet Sharma, Pranali Sharma & Manoj Nair Screenplay: Vineet Sharma DOP: Ramani Ranjan Das Editor: Amit Kulkarni Cast: Sachin Khedekar, Sonali Kulkarni, Jayant Gadekar, Kshitee Jog

Director, Producer, Screenplay: Chetan Bhakuni DOP: Chetan Bhakuni Editor: Chetan Bhakuni Cast: Chetan Bhakuni

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Gajra 2021 | Hindi | 19 min. | Colour

India Film Guide 2022

Director: Jai Prakash Producer: Sarita Prakash Screenplay: Jagannath Guha, Soumitra Khara DOP: Raj Mani Maurya Editor: Soumitra Khanra Cast: Rajaram Tiwari, Late Prof. Deena Nath Shukla, Shubhra Dutta, Sikandar Prajapati, Babu Narayan Jha, Ashok Kumar Mishra, Geeta Tiwari, Sushil Mishra, D.P. Tripathi, Jamuna Devi

Jugalbandi 2021 | Hindi | 13 min. | Colour

Cannes Film Market

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INDIAN PANORAMA Non FEATURE FILMS 2021

A grandmother tells a story to her grandson about the origins of their remote indigenous village in Maharashtra’s Western Ghats. As the mysterious morning slowly unfolds, spirits wander in the forest and dark secrets buried in time slowly emerge. The trees whisper tales of the Gods and the ancestors. They say you don’t die; your spirit assimilates into the jungle. While the cycle of life, death, and rebirth continues, the forest stands eternal – a bridge between the old and the new.

‘Pabung Syam’ documents the life and film career of Aribam Syam Sharma, the father figure of Manipuri cinema. Sharma is a film director, actor, singer and composer; and has been associated with the Manipuri film industry since its first full-length feature film ‘Matamgi Manipur’ (1972). He has won multiple National Film Awards, and several other national and international honours. Director: Haobam Paban Kumar Producer: Films Division Screenplay: Haobam Paban Kumar DOP: Irom Maipak Editor: Sankha Cast: NA

Director, Producer & Screenplay: Sohil Vaidya DOP: Digvijay Thorat Editor: Sohil Vaidya Cast: Ramesh Bhoir, Rahul Bhoir, Nitin Bhoir, Pradeep

Murmurs of the Jungle

Pabung Syam

2021 | Marathi | 20 min. | Colour

2020 | Manipuri | 52.49 min. | Colour

Debasish is concerned about her little daughter Mohul’s habit of humming a tune of Allah Hu Akbar (an Islamic prayer). On probing, it comes to light that Mohul subconsciously acquired the habit as she regularly heard the azaan from a nearby mosque. Mohul’s family decides that she would undergo a classical music training in the early morning in order to substitute the sound in her mind. Twenty years later, Mohul’s little son begins to learn classical music from his mother. Director: Abhijit A. Paul Producer: Abhijit A. Paul Screenplay: Abhijit A. Paul DOP: Suman Biswas Editor: Abhijit A. Paul Cast: Sharanya Iyer, Manjuri Chakravarty, Debasish Iyer, Shalini Iyer, Srikanta Manna, Shuvendu Bannerjee, Umarani Mondal, Rajrup Choudhury, Ashok Karmakar, Sohini Mukherjee, Jyotirmoy Mondal, Indranil Bag, Kartik Majhi Singur 176

This film talks about the politically-motivated killings and mass murders in West Bengal which the then state governments have tried to keep under the wrap for the last 50 years. Many of such cases have even remained uncovered by the media. The case files and evidences in most cases are concealed and related videos and photographs are unavailable. In the film, many scenes have been narrated by the eye witnesses or recreated based on the research work done before filming.

Naad-The Sound 2021 | Bengali | 22.19 min. | Colour

India Film Guide 2022

Director, Producer & Screenplay: Sanghamitra Chaudhuri DOP: Smriti. S. Mandal & Bappa Dasgupta Editor: Smriti S. Mandal Cast: Keya Ghosh, Jay Guha, Jayanta Roy, Trishna Mukherjee and others

Cannes Film Market

Sainbari To Sandeshkhali 2021 | Bengali | 42min. | Colour

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FILMS

INDIAN PANORAMA Non FEATURE FILMS 2021 Marimuthu, a law student, delivers food to support his family. He enjoys riding the bike all day and listening to songs while on the road. When a group of men asks him to deliver their order to another location, Marimuthu first resists but delivers them food. But the group treats him with disrespect due to his unconventional walk and his background, and refuse to pay him for the food. Marimuthu’s emotional ride back home after the incident forms the crux of the film.

Twelve-year-old Anuj and his friend Bhartu go on to find out if the girl former likes, pays any heed to him. As they plan out the ways to propose her, we see, through their journey, the emotional trauma large part of the villages in Uttarakhand are facing due to the long-prevailing socioeconomic migration which has caused desertion for more than two decades. Set in a small village in Uttarakhand, ‘Sunpat’ is a story of love and friendship blooming at the time of hopelessness.

Sunpat 2020 | Garhwali 33 min. | Colour

Director: Rahul Rawat Producer: Rahul Rawat Screenplay: Rahul Rawat DOP: Viru Singh Baghel Editor: Rahul Rawat, Rohit Rawat Cast: Ashish Negi, Sujal Gusain, Chanda Dhaulakhandi, Vijaypal Singh Rawat, Jhupli Devi, Mansi Bisht, Babli Rawat, Gayatri Devi, Jaipal, Rohit Rawat, Jitendra Negi, Vandana Rawat

Surmounting Challenges 2020 | English | 28.10 min. | Colour

178

Sweet Biriyani 2021 | Tamil | 23.28 min. | Colour

As per ancient Indian philosophy, our life, events, emotions, relation, etc. all go through a circle of highs and lows. What has germinated will come to an end and will germinate again only to perish... and so on. The cycle thus continues eternally. Conceptualised and shot during the nationalwide Covid-19 lockdown, the film has three chapters – ‘Vipatti’ (Calamity), ‘Utpatti’ (Germination) and ‘Chakra’ (Continuity). It also deals with connect between individuals across species, in times when the whole world was gripped in rupture and silence.

While Delhi Metro’s Phase I and II laid the foundation of a robust mass rapid transit system, Phase III made the metro accessible to major localities of Delhi. But it was also the toughest in terms of major civil engineering challenges it encountered. The 160 km-long stretch saw work on 11 different corridors with 30 mammoth tunnel boring machines and a workforce of nearly 30,000. This film highlights how DMRC overcame such engineering challenges with out of the box solutions. Director: Satish Pande Producer: Anuj Dayal Screenplay: Ahad Umar Khan DOP: Rajan Kumar Shrivastav Editor: Pawan Kumar Cast: NA

Director, Producer & Screenplay: K. Jeyachandra Hashmi DOP: Praveen Balu Editor: Gowtham G.A. Cast: Sarithiran, Balaji Venugopal, Sumathi, Deepan, Nivya, Ahamabro, Theleepan

India Film Guide 2022

Director: Subash Sahoo Producer: Suprava Sahoo Screenplay: Subash Sahoo DOP: Subash Sahoo Editor: Suvir Nath Cast: Shubham Sahoo Cannes Film Market

Teen Adhyay 2020 | Hindi | 21.55 min. | Colour and B&W

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INDIAN PANORAMA Non FEATURE FILMS 2021 This documentary features Assam Police’s first female commando force ‘Veerangana’ – a first in the country also – launched in 2012. These Veeranganas are trained in silent arms drill, commando training, motor cycle riding, martial arts, etc. Through interviews with core individuals, the film shows the force’s role in effectively dealing with crime against women in Guwahati, India. It captures how these women constables take on eve-teasers and harassers and make Guwahati a safer place for women, one day at a time.

Living all by himself and making a career out of screenwriting, the film’s protagonist doesn’t realise when he goes from being alone to being lonely. The 15 years of living in a shell now manifest themselves in the form of a knocker on the front door during the lockdown who appears all too real to him. The lines between imagination and reality are blurred as he fights to come to terms with the knocks that have become a routine. Director: Ananth Narayan Mahadevan Producer: AGP World Screenplay: Ananth Narayan Mahadevan DOP: Ananth Narayan Mahadevan Editor: Priyanka Rani Cast: Ananth Narayan Mahadevan

Director & Producer: Kishore Kalita Screenplay: Utpal Dutta DOP: Nagen Baishya Editor: Diganta Borah Cast: Bhaskar Jyoti Mahanta, IPS

The Knocker

Veerangana

2020 | Hindi | 17.46 min. | B&W

2020 | Assamese | 20.59 min. | Colour

Inaas, the sole owner of a small field in tribal Gujarat, is the target of envious neighbours who brand her a ‘witch’. Enveloped in fear, she looks for strength in other women – a new mother dealing with loneliness and a young married woman forced to reckon with turmoil of her own. The Mahua forest bears silent witness to their secret conversations, sometimes reaching out through ancient folk songs. The film captures the bone-deep weariness that often lies behind such women’s daily courage.

Saro is proclaimed to be a witch by the villagers for manifesting her mother’s death. They claim she killed people under the influence of the Goddess who demanded blood. But to forget this mishap, Saro plans to gets married and hopes to start a new life with her husband. Prior to her marriage, the Goddess is really impressed with Saro which puts Saro in agony. This surreal take on Saro’s life has lot of secrets embedded within her.

Director: Prachee Bajania Producer: FTII Screenplay: Prachee Bajania DOP: Rajesh Amara Rajan Editor: Srujana Cast: Swati Das, Shraddha Kaul, Vidisha Purohit

Director: Jackie R Bala Producer: Bada Parda Films Screenplay: Jackie R Bala DOP: Jackie R Bala Editor: Prem Solomon Tigga Cast: Shakuntala Marandi, Manilal Hembram, Soni Tudu

The Spell of Purple 2020 | Gujarati | 23.53 min. | Colour

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Witch 2020 | Santali | 27.49 min. | Colour & B&W

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SIX SPECIIAL INDIAN FILM SCREENINGS AT CANNES

SIX SPECIIAL INDIAN FILM SCREENINGS AT CANNES Godavari Rocketry – The Nambi Effect Director: Shri R. Madhavan Producer: Shri R. Madhavan

Director: Shri Nikhil Mahajan Producer: Blue Drop Films Pvt. Ltd. Language: Marathi

Language: Hindi, English, Tamil

Rocketry - The Nambi Effect is a retelling of Shri Nambi Narayanan’s life story as it unravels in an interview by the celebrated superstar and Badshah of Bollywood, Shah Rukh Khan, on a TV program. Like many great minds, Nambi is also deeply flawed, his genius and obsession earning him enemies and detractors, thus making him a compelling modern protagonist.

Screening World Premiere MAY 19, 2022 | 21:00 158 min | PALAIS K

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Beyond serving as a treatise for the vindication of quiet achievers in society, the film also challenges the audience to take up the responsibility of recognising, and celebrating the special contributors, whether it be a Nambi Narayanan or a teacher educating poor kids, soldiers at the border, doctors serving in remote villages, or volunteers helping the needy. It also raises a powerful question – why aren’t we standing up collectively to defend our innocent and powerless against the hegemony of the powers that be? For every Nambi, there are thousands of silent achievers fighting for justice. These stories need to be heard. It starts with Nambi, but he’s just the beginning.

India Film Guide 2022

It is the story of one NISHIKANT DESHMUKH - who lives by the banks of a river, in an old mansion with his family. Through generations NISHI and his family have been rent collectors. They own a lot of property around the old part of town. While his grandfather, Naropant, suffers from dementia, his father Nilkanth, has chosen to forget. At the end of his bloodline, Nishikant is frustrated with his life. He hates the ways of the old town, he hates the insignificance of his life, he hates that he has been incapable - but like most Indian men, he chooses to internalize his hatred and blame it on factors like tenants and the town that are only incidental, if not entirely faultless. Nishikant collects rent and plays video games in his small apartment far away from the river. He has moved out of his family mansion, leaving his wife and daughter to live with his parents. He spends his time being angry at the river and everything it brings with it. He knows he is a lost cause.

Cannes Film Market

Screening MAY 22, 2022 | 09:30 115 min | OLYMPIA 7

However, life and death have always coincided, coalesced seamlessly into each other and that amalgamation feels even more palpable in the town where one person’s death is a way of living for so many.

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SIX SPECIIAL INDIAN FILM SCREENINGS AT CANNES

SIX SPECIIAL INDIAN FILM SCREENINGS AT CANNES Boomba Ride Alpha Beta Gamma Director: Shri Shankar Srikumar Producer: Choti Film Productions

Director: Shri Biswajeet Bora Producer: Quatermoon Productions Lanugage: Mishing

Language: Hindi

Jai’s directorial career is on the uptick, though his marital life is on the rocks and he is trying to move on with his girlfriend Kaira. Mitali, his wife - wants a divorce so that she can marry her engineer boyfriend Ravi, who is sober and caring, as against her unpredictable soon-to-be ex-husband. When Jai drops in to talk divorce, Ravi is in the flat, the apartment that once used to be Jai and Mitali’s house. Ravi realising that it will be awkward for the estranged couple to discuss divorce in front of him decides to leave. But before one of the men can make way for the other in Mitali’s life, the Corona virus lockdown intervenes. Screening MAY 22, 2022 | 11:45 119 min | OLYMPIA 7

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Now three souls afflicted with the love virus struggle to decide what they want, and at what cost, with nowhere to go but inside.

India Film Guide 2022

From GOD ON THE BALCONY director Biswajeet Bora, BOOMBA RIDE is a scathing comic satire of corruption in India’s rural education system – and one 8-year old boy (newcomer Indrajit Pegu, in a remarkable performance) who knows how to rig the game for himself. Inspired by a true story, the film was shot in the state of Assam on the banks of the Brahmaputra River with a mostly nonprofessional cast. The story revolves around an impoverished school where there is only one (unwilling) student, Boomba. Desperate to keep their jobs and funding, the teachers wind up bribing the hilariously impassive and uncooperative boy to show up to class – while Boomba’s secret wish is to attend the better-funded school in town where a slightly older and very pretty girl just happens to be a student. “BOOMBA RIDE is a film that is very close to my heart. I was born and brought up in rural Assam. I have witnessed similar kinds of stories out there where the government run schools have no proper facilities that a school should have,” comments director Biswajeet Bora. “I believe only by growing awareness and taking responsibility for educating our poor and underprivileged classes, can we make a change in a broader way. Making the film wasn’t easy as I shot with non-actors and also there Cannes Film Market

Screening MAY 22, 2022 | 14:15 76 min | OLYMPIA 7

were language barriers among us. However, I regard it as one of my best experiences to date because people around the village were very true and innocent, which really touched my heart. The location of the village was as pristine as it is seen and most interestingly we shot in real locations with local people. The protagonist Boomba is equally innocent and it is hard to believe that he hasn’t seen a theater hall in his life. I believe people will connect with this serio-comic narrative, which is nothing but a subtle representation of a real world that actually exists in today’s world.” 185

SIX SPECIIAL INDIAN FILM SCREENINGS AT CANNES

Dhuin

Tree Full of Parrots

Director: Shri Achal Mishra

Director: Shri Jayaraj

Producer: Achalchitra

Producer: Navaneet Films

Language: Hindi, Maithili

Language: Malayalam

Pankaj is an aspiring actor who is making ends meet by doing street plays for the local municipality. He dreams of making it big, and along with his friend Prashant, is saving enough to move to Mumbai in a month’s time. Back at his home, his family is under financial strain post the lockdown, and his retired father is now looking for a job.

Eight year old boy Poonjan is not an ordinary boy. He earns a living by doing small jobs like fishing in the back waters and looks after his family consisting of a drunkard father, grandfather and great grandfather. His mother eloped with another person years back.

He wanders around the town through the day, meeting his theatre peers, being bossed around by his seniors, and giving out life advice to his juniors. After a meeting with a Mumbai-based filmmaker ends in an unexpected manner, he has a change of heart, and decides to give up his savings for his father’s job.

Screening MAY 22, 2022 | 16:00 50 min | OLYMPIA 7

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On returning home one evening, he is asked to accompany his father for a job opening in a nearby town in a couple of days. The trip and the job will cost money, and the family has to arrange for it till then. When Pankaj is asked to arrange for a bike for the trip, he dismisses, running away from his responsibilities.

India Film Guide 2022

One day while fishing Poonjan saw a blind man sitting alone in the Boat yard who seemed to have lost his way home. He is demented, and only remembers a certain tree full of Parrots in front of his house. An attempt to report this man in the police station was futile. On the way through River banks he enquired, but nobody was able to guide them. Disheartened with the outcome of their journey, Poonjan was about to give up on the quest. Right then, he heard the sound of a parrot which lead him to the “tree full of parrots “! At last Poonjan decided to find the way back to the Blind man’s house by trying to spot the tree full of Parrots. Although the blind man’s son and daughter-in-law extended a warm welcome, something seemed fishy. Poonjan’s suspicion was confirmed when he overheard their conversation. While selling their current home and moving to a new one, they were

Cannes Film Market

Screening MAY 22, 2022 | 17:15 90 min | OLYMPIA 7 hoping to get rid of the blind man. Through the conversation it became evident that they consider the blind man a burden, one that needs to be discarded. While leaving Poonjan said goodbye to the blind man and got on to the boat. However, knowing what he knows about the blind man’s fate, Poonjan’s conscience refused to leave him alone. Without anyone’s knowledge, he decides to invite the blind man on the journey back. Poonjan, accompanied by the blind man, rows the boat into the horizon.

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Film Bazaar Goes to Cannes 2022

Film Bazaar Goes to Cannes 2022 Laila and Roshni, two transwomen, are looking for a house after they are evicted from the place they rented. It soon becomes evident that their search for a home is also their ongoing search for a place in this society that wants to keep them away in a section that can not be the centre.

NFDC’s Film Bazaar will be part of Marché du Film Goes to Cannes industry program from 20 to 23 May. Five projects from India that are currently at various stages of post-production, and are still seeking a sales agent, distributor or festival selection

A PLACE OF OUR OWN Category: Film Bazaar Goes to Cannes Directed by: Ektara Collective Produced by: Ektara Collective Country of production: India Original title: Ek Jagah Apni Language: Hindi | Runtime: 90min

Fisherman Manab lives with his wife Bharabi in a small village, Baghjan, which is a fertile oil & gas field. One day during oil extraction a massive blast takes place and the entire village catches fire that has devastating consequences.

In a territorially disputed town, a radicalized journalist believes in exposing the atrocities faced by his community. But as the line between his professional and personal life blurs, an inconvenient truth makes him reflect back on a simpler time when he had not yet succumbed to radicalization.

BAGHJAN Category: Film Bazaar Goes to Cannes Directed by: Jaicheng Zxai Dohutia Produced by: Jaicheng Zxai Dohutia, Mayamara Productions Country of production: India Language: Assamese and Moran Runtime: 85min

FOLLOWER Category: Film Bazaar Goes to Cannes Directed by: Harshad Nalawade Produced by: Vinay Mishra, Jaideep Varma, Saket Gyani, Maulik Sharma Country of production: India Language: Marathi, Kannada and Hindi Runtime: 99min

In the slumbering mining town of Bailadila is home to 10 year old Rinku’s elder brother Jiten, a passionate artist caught in a miserable teaching job. Rinku finds himself at the threshold of boyhood after losing his mother, moving in with his brother and experiences many things for the first time.

Shivamma (46), a poverty-stricken woman invests her hard-earned money in a network Marketing business to make some quick money which puts her daughter’s imminent marriage on stake.

BAILADILA Category: Film Bazaar Goes to Cannes Directed by: Shailendra Sahu Produced by: Raju Biswas Country of production: India Language: Hindi and Chhattisgarhi Runtime: 93min

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SHIVAMMA Category: Film Bazaar Goes to Cannes Directed by: Jai Shankar Produced by: Rishab Shetty, Rishab Shetty Films Country of production: India Language: Kannada | Runtime: 105min

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CANNES CLASSICS

Pratidwandi

Thampu

Satyajit Ray

G Aravindan

A restored print of Satyajit Ray-directed 1970 urban drama Pratidwandi, the first in the auteur’s “Calcutta Trilogy”, will be screened with 12 other classic films from across the world as part of the Classics section.

The restored version of master filmmaker G Aravindan’s all-time classic Thampu (The Circus Tent) will be showcased at this year’s Cannes Classic section.

Based on a novel by the same name by Sunil Gangopadhyay, Satyajit Ray’s film unfolds the story of Siddharta, an educated middle-class youth caught in the turmoil of social unrest, dealing with his struggles to find a job.

Thampu, which released in 1978, had Nedumudi Venu, Bharath Gopi, VK Sreeraman, and Jalaja in pivotal roles. Thampu tells the story of a travelling circus which has dug its tents at a village. Shot in a documentary narrative style, the film gives insights into the village’s geography, lives of villagers, and their interactions with people from the circus group.

Satyajit Ray’s ‘Pratidwandi’ is known for experimenting with specific techniques such as photo-negative flashbacks. It bagged three National Awards, including Best Direction, in 1971.

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CO-PRODUCTION DAY AT CANNES

Five projects from NFDC’s Film Bazaar are part of Co-Production Day Bena (Seed)

Ashwamedh (The Sacrifice) India, United Kingdom | Hindi, Munda | Action, Adventure, Period

et around the Ashwamedh Yagya conducted by Indo-Aryan king, Sudas, of the Bharata tribe in the 10th century BCE, the film follows the journey of the horse chosen for the yagya and the troupe assigned to protect it during its yearlong ritualistic conquest. The campaign has a great start as the horse passes several territories without being challenged, expanding the Bharata realm exponentially. However, the killing of two native boys for unknowingly impeding the Ashwamedh horse creates a backlash and the troupe is ambushed by a fierce native chief, Shundaka. While most Bharata soldiers perish in the attack, a dasa horsecarer, Shirimbita, who is part of the troupe for having raised the Ashwamedh horse, somehow manages to flee with it. Meanwhile, a sudden rivalry between King Sudas’s head priests causes a political stir, inciting his rivals to capture the horse and sabotage the Yagya. Thus begins a series of deadly hide-and-seek and chases where Shirimbita does everything to protect the horse. Evading successive attacks by rival Indo-Aryan tribes and fierce natives, he rides on a survival spree from one forest to another, winning more territories for his

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King in the process, but losing faith in the idea of conquest. Representative at Marché du Film Ridham Janve Director & Producer + 91 9998848595 ridham.janve@gmail.com Ridham studied communication design at the National Institute of Design, Ahmedabad, where he started his experimentation with the film medium. His early film works include hybrid and narrative shorts - Major Ka Farewell (2010), Prataha Smarana (2011), and Kanche aur Postcard (2013). Ridham’s debut feature film, The Gold-Laden Sheep and The Sacred Mountain, won the Young Cinema Award at the Asia Pacific Screen Awards as well as the Silver Gateway Award at the Jio MAMI Mumbai Film Festival. The film went to numerous international film festivals including International Film Festival of Rotterdam, BFI London Film Festival, and Hong Kong International Film Festival where it won the FIPRESCI Prize. His current project, Ashwamedh, was awarded the MPA APSA Film Fund in 2020.

India Film Guide 2022

India | Marathi | Adventure, Drama This is the story of Shamrao and his grandson Nagya. Shamrao’s wife died as a tree befell her. Taking it as a curse of the forest, he started sowing seeds every year after first rainfall on barren patches of the forest. Nagya becomes his companion right from his childhood, but his father Baban has always disapproved this idea and even had despised him. The forest has been declared as a tiger reserve; hence the forest department is keen on evacuating the people from the core zone. But Shamrao was determined to not leave the forest till his death. And when he died, Baban left the forest and relocated to the city. Shamrao and Nagya had collected the seeds already. In his last days, Shamrao asked Nagya to promise that he would sow the seeds this year. Nagya comes back to the forest to fulfil this promise, and Baban comes after him to stop him from this stupidity which Shamrao did for all these years.

Shamrao calling him in the forest. He stands still in a dilemma for which side he should choose. Representative at Marché du Film Addinath M. Kothare Producer +91 9326922184 addinathmkothare@gmail.com

Addinath Kothare is an actor, director, and producer from India. Paani, his directorial debut, won the National Award and received an award at the New York Indian Film Festival. Addinath has produced two films and 10 television shows.

Here in the end, when Baban looks at him frantically, Nagya hallucinates

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COPRODUCTION DAY AT CANNES

Chevittormma (The Soul Whisperer)

Ek Mutthi Badal (My Share of Sky)

India, Australia | Malayalam | Drama

Nepal | Nepali | Drama

Thresia, 65, devoutly whispers the Chevittormma (last rites) into the ears of dying people, so that they can leave behind their burden of sins and reach the heavenly abode. She lives in her quaint hilltop home, where she grows plants in the memory of every soul that she has supported. Thresia’s next needy soul is Varkichan, an old aged estate-owner in Wayanad, frail and unconscious, on his deathbed. His estranged NRI son George is in town, to be by his father’s side, as the end nears. But one day, when Thresia chants her prayers, Varkichan wakes up and grins. She is shocked and amused, as Varkichan coaxes her into not telling his son his “change of health”. Unlike others that Thresia had met, she finds Varkichan non-remorseful of his sins, as he strongly believes that only the coward repents before their death. As they say, opposites attract and a gentle companionship begins to grow between the woman who encourages dying people to depart to the maker’s home and the man who has an endless zest for life. But when the final moments

arrive, will she be able to whisper the last rites that free him? Representative at Marché du Film Stephen Zacharias Producer +61 0423150347 stephen.cqu@gmail.com

Stephen Zacharias founded Stop Whinging in 2019 to give voices to Independent filmmakers who have powerful stories to tell. Among other accomplishments, Stop Whinging was one of the producers of Nirvana Inn, an official selection at APM 2018 and premiered at the Busan Film Festival 2019.

It’s the eve of the youngest daughter’s engagement, and a Nepali family run by a matriarch Aama, has come together after 5 years. As the night progresses, the members, each struggling to conceal their past traumas and overwhelmed by societal expectations, collide over seemingly trivial issues like gender roles and cultural norms. The bride-to-be, is having second thoughts about her marriage and her role as a Nepali daughter-in-law, one that is deeply rooted in patriarchy. Aama, on the other hand, has lived through the wrath of poverty and patriarchy and will make any compromise for the prestige this engagement will bring her daughter and consequently her family. The elder daughter is struggling to conceal an emotional breakdown and the elder son-in-law is cheated out of a coveted promotion in the United States because of racial discrimination. Things get worse when her youngest son is arrested by the police, threatening to destroy everything Aama has built over the years.

Representative at Marché du Film Abhimanyu Dixit Producer +97 79851215269 abhimanyu.dixit@gmail.com

Abhimanyu Dixit is a filmmaker, film educator, & film campaigner based in Kathmandu. He is currently working on his debut feature documentary Beyond the Scale: Ms. Nepal Curvy (2023) that recently featured in the Docedge project incubation lab in Kolkata, India. Sahara and Abhimanyu have been collaborating for more than a decade, co-writing and producing short films, TV Series, and feature length films through Gauthali Entertainment. Their debut feature as a producer director duo was the awardwinning Chasing Rainbows (2013). Their second feature collaboration, Miss Bardiya (2020) was also a part of Viewing Room 2016 of the Film Bazaar. Ek Mutthi Badal is their third feature together.

Struggling to grasp their identity, one that is muddled between expectations and their honest self, tonight, the family is compelled to confront each other and reveal their deepest secrets.

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Film BODIES

Safa Bangladesh | Bengali | Drama Safa -- a young woman -- suffers from self-inflicted guilt for her mother, Shirin’s disability as the mother was taking her to the music class when the near fatal accident took place that led to her current paraplegic condition. To deal with her guilt, Safa wants to preserve Shirin’s life at any cost. She doesn’t care about the quality of her mother’s life as long as she is breathing. On the other hand, Shirin wants to enjoy the finer things of life -- food, music, and long drives. But the taskmaster Safa won’t allow it because Shirin has had a stroke and her health is getting worse. Safa’s love interest, Ankur, is a free-spirited guy who works with her at a shisha lounge. He inspires Safa to let her mother enjoy her life. They take Shirin out for long drives, shopping, street food and plain basking under the sun. It makes Shirin happy but her health keeps getting worse to the point where she does not want to live anymore. This time, Safa realizes that life should not be preserved at any cost and after Shirin has another stroke the daughter does the unthinkable -- she leaves her mother to die by herself. Representative at Marché du Film Maksud Hossain Director& Producer +880 1796587398 maksud.hossain@gmail.com

Maksud Hossain is a writer-director and the founder of Verite Films, a film production company based in Dhaka, Bangladesh. He has directed more than 15 short films. One of his shorts, Three Beauties, received the Student Academy Award in 2006. He was the writer and director of a television movie Bahattor Ghonta (72 Hours), which premiered on NTV, a leading nationwide television network in Bangladesh. His most recent work, a short film Remakri, was screened at various international film festivals.

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Film Bodies, now converged under the aegis of the National Film Development Corporation (NFDC)

Film BODIES

Children’s Film Society, India

hildren’s Film Society India (CFSI) started functioning in 1955 as an autonomous body under the Ministry of Information & Broadcasting, mandated to Produce Children’s Films to exhibit and nurture a dynamic children`s film culture in the country with the purpose of stimulating their creativity, compassion, and critical thinking. CFSI has produced, exhibited, and distributed films, serials, animations, and documentaries - that entertain and encourage children to reflect upon the world around them. With an enviable catalog of over 260 films in 15 different languages, CFSI remains the prime producer of children’s films in the country. Several of these films have won prestigious national and international awards. Over the years some of the brightest talents of Indian Cinema – Mrinal Sen, Satyen Bose, Tapan Sinha, K. Abbas, Shyam Benegal, M S Sathyu, Sai Paranjpe, Budhdhadeb Dasgupta, Santosh Sivan, Ram Mohan, Rituparno Ghosh, Pankaj Advani, to name a few have directed films for CFSI. They are joined by many

other new and imaginative filmmakers who have created delightful children's films in the country. CFSI is now under the umbrella organization led by NFDC which is committed to strengthening the children's film movement within India and promoting Indian-produced children's films across the globe. Under CSS – Exhibition of Children Film in Schools, CFSI organizes Children’s Film Festival (CFF) and LCD Shows Pan India including the NorthEast States. CFSI’s films are exhibited FREEOF-COST in Pan India, benefiting the Children of all strata of society, in association with State or District Authorities and District Child Protection Units, Govt. Registered NGOs. Education Satellite Channel, Municipal Virtual Education Studio. The pattern of the exhibition can be broadly divided into Theatrical and Non -Theatrical shows. Every alternate year CFSI organizes prestigious International Children’s Film Festival, India (ICFFI) known as Golden Elephant as well as National Children’s Film Festival (NCFF)

Directorate of Film Festivals

he Directorate of Film Festivals (DFF) was set up with the objective of promoting of Indian films and cultural exchange. DFF organizes and implements the following events and programs to promote Indian cinema: ●

he National Film Awards and the T Dadasaheb Phalke Award.

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rganizing the annual International Film O Festival of India (IFFI).

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P articipation in Cultural Exchange Programmes and organizing screenings of Indian films through Indian Missions abroad.

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S election of Indian Panorama films.

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articipation in International Film Festivals P abroad.

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rganizing special film expositions such as O retrospectives, Indian Panorama films, and National Awards winning films screenings and theme-based film festivals in different parts of the country.

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ollection, preservation and documentation C of prints of Indian Panorama films for noncommercial screenings.

With a catalog of over 260 films, CFSI remains the prime producer of children’s films in India. Several of these films have won prestigious national and international awards 200

India Film Guide 2022

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Film BODIES

International Film Festival of India (IFFI)

tarting way back in 1952, the only official film festival of the Government of India, IFFI is an 'A' grade film festival accredited to the International Federation of Film Producers Associations (FIAPF) and is one of the oldest and most prestigious festivals in Asia. IFFI showcases a collage of the best contemporary and classical films from around the globe. The festival welcomes an array of world-renowned filmmakers, actors, technicians, critics, academicians, and enthusiasts to celebrate Cinema and the Art of Filmmaking through its Presentations, Masterclasses & Panel Discussions, Coproduction Seminars, etc. IFFI has been promoting the culture of cinema for the last five decades with a perennial aim to grow with the demands of time. It is this dynamic attitude that has won IFFI a reputation in national as well as international forums. This India’s most prestigious festival is also the first International Film Festival held anywhere in Asia. Indian Panorama. Indian Panorama is a flagship component of the International Film Festival of India (IFFI) under which the best

contemporary Indian Feature & Non-Feature Films are selected in the categories for the promotion of film art. Indian Panorama was introduced in 1978 as part of the International Film Festival of India to promote Indian Films and their rich culture and heritage through Indian films. The Indian Panorama has ever since been completely devoted to showcasing the best of the Indian films of the year. The aim of the Indian Panorama, organized by the Directorate of Film Festivals, Ministry of Information and Broadcasting, Government of India, is to select the feature and nonfeature films of cinematic, thematic, and aesthetic excellence, for the promotion of film art through the non-profit screening of these films in: ●

nternational Film Festivals in India and I abroad.

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ndian Film Weeks held under Bilateral I Cultural Exchange Programmes and Specialized Indian Film Festivals outside cultural exchange protocols, and

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Special Indian Panorama Festivals in India.

Block your dates now. The 53rd International Film Festival of India, Goa will take place from November 20-28, 2022 202

India Film Guide 2022

Film Bazaar India NFDC Film Bazaar is South Asia’s largest film market that happens every year in Goa alongside the International Film Festival of India (IFFI). The Bazaar is focused on discovering, supporting, and showcasing South Asian content and talent in the realm of filmmaking, production, and distribution. A converging point for film buyers and sellers from all over the world, the Bazaar also aims at facilitating the sales of world cinema in the South Asian region. Over the years, Film Bazaar has become a must-visit event for filmmakers to present their stories to the international

film fraternity. Each year more than 200 films and projects from across South Asia are pitched to various sales agents, buyers, film festival programmers, and financiers from all over the world. However, for the past two years, the film market was held online due to the pandemic. A unique state-of-the-art 3D virtual portal was created for Film Bazaar Online. Programs at Film Bazaar. The various programs at NFDC Film Bazaar include the Co-Production Market, Work-In-Progress Lab, Viewing Room, Knowledge Series, Industry Screenings, and Film Offices.

Over the years, Film Bazaar has become a must-visit event for filmmakers to present their stories to the international film fraternity. Each year more than 200 films from across South Asia are pitched to various sales agents, buyers, film festival programmers and financiers from all over the world

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Film BODIES

National Film Awards

he National Awards for films, which were started as an annual incentive by the Government of India , for the making of artistic, competent and meaningful films, have come a long way, to cover the entire national spectrum of Indian Cinema, to judge merit by the highest possible yardstick and to become the most coveted and prestigious awards in the country. From 1954, when the very first awards for the films of 1953 were given to the present, there lies the more than six decades old story of an awards scheme, which is surely the most unique of its kind. The awards are given in three sections – Feature Films, Non-Feature Films and Best Writing on Cinema. In no other country, has the State encouragement to good cinema been such a vast and monetarily rewarding form year after year. In turn, this has influenced and encouraged the making of creative, serious, cinematic and significant films over the years. Every year, the best works as well as individual achievements stand out on the highest national level, for all to see. This itself provides a tremendous spur and initiative for better film making, by creating a desire to win recognition and also the substantial cash prizes going with it. Another commendable aspect of the National Awards is to encourage good films in all languages which is a marathon task, considering that India makes films in some twenty languages and dialects. Similarly,

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awards for documentaries, whether short or full length, are given in different categories. If we take a quick look-back at the decades which have rolled by, we find that the Awards, which were initially called “State Awards”, had started off in a small way, with two President’s Gold Medals, two certificates of merit and silver medals for a dozen regional films. For the first six years, it was the practice to give the Regional Best Award to the National Best Film itself. Later, a medal or certificate of merit was given to two or three films in each language. Separate awards for artistes and technicians were instituted in 1968 for the films of 1967, Nargis Dutt and Uttam Kumar being the first actress and actor to get them. For some time, these were called Urvashi and Bharat Awards but the names of the Awards were later changed. In their aim and purpose, the National Awards have undergone several changes since their inception. In the early years, except for a rare case like Pather Panchali , the content seemed to be given more weightage than the form. But over time, with filmmakers exploring different facets of the medium and enlightened cineastes being appointed on the Jury, this has changed enormously and now the form cum technique is considered as important as the content and thematic ideas. National Awards aim at encouraging the production of films of aesthetic and technical excellence and

India Film Guide 2022

social relevance contributing to the understanding and appreciation of cultures of different regions of the country in cinematic form and thereby also promoting integration and unity of the nation. The awards also aim at encouraging the study and appreciation of cinema as an art form and dissemination of information and critical appreciation of this art form through publication of books, articles, reviews etc. The National Awards along with cinema's highest honour, Dadasaheb Phalke award, are presented by the President of India in a solemn function in the presence of the Union Minister of Information

and Broadcasting, Chairpersons of the three juries, representatives of Film Federation of India and Confederation of All India Cine Employees and senior official. Since the Awards for 2007, two live playback singing performances are also held during the ceremony. The awards have over the years brought the best talent present in India Cinema to national limelight. In its over a half a century long history, the National Film Awards have nurtured numerous talent who are now national icons and also known internationally.

National Awards aim at encouraging the production of films of aesthetic and technical excellence and social relevance contributing to the understanding and appreciation of cultures of different regions of the country in cinematic form and thereby also promoting integration and unity of the nation Cannes Film Market

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Film BODIES

Films Division 



F oundations of the Films Division were laid in two organizations during the World War II period by the Imperial Government to help in the war effort – the Film Advisory Board (FAB) and the Information Films of India. F AB wound up in 1943 and in its place, Information Films of India was born, and with it, The Indian New Parade.

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T he IFI was located at the Central Film Studios at Tardeo Road, Mumbai.

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A fter the closing down of IFI in 1946, the Standing Finance Committee of the newly elected Indian Government, in December 1947 formally approved the proposal to form a film producing and distributing unit under the I&B Ministry.

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T he new organisation was first named ‘Film Unit’ and later was officially renamed as ‘Films Division’ in April, 1948 as a part of the efforts of the new Government of binding together a multilingual, multicultural, multi-ethnic country into a single nation through the medium of cinema.

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G ulshan Mahal, a sprawling heritage residential premises at Pedder Road was acquired and converted into the headquarters of Films Division and the staff shifted into it in 1952 after working from rented premises at the Famous Cine

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Laboratories at Mahalaxmi and later from the White House at Walkeshwar. 

The Phase-I Film Bhawan was later built at the Gulshan Mahal premises in 1976 followed by Phase II building in 1988.

Objectives and work-flow The Films Division is the oldest film unit under the Ministry of Information and Broadcasting. It has recorded India’s post-independence history by producing more than 9400 titles including documentaries, animation films, featurettes, and Indian News Reviews. The broad objectives of the Films Division are to record and preserve the history of India in films, to secure appreciation for its contemporary life and culture and to foster, stimulate and promote the growth of documentary and short films in the country. It has been instrumental in presenting India’s rich heritage to her own people as well to the outside world. FD YouTube Channel and Archival Research Centre facilitate preview of its priceless contents, many of which have won awards including two Academy nominations. Screening rights, archival footage, and DVDs are made available to production houses, filmmakers and cineaste. Films Division PSA films are screened in cinema houses and its documentaries are telecast by Doordarshan and other channels. Festivals and special

India Film Guide 2022

screenings of documentary films are organized by the Films Division throughout the year in different places in the country. FD films are also loaned to film bodies and institutions for non-commercial screening. Its documentaries are also loaned to Indian Missions and Posts for screening abroad on important occasions. During the Covid pandemic lock-down, a number of outreach activities including online film festivals, special screenings, and webinars have been organized. Events are also organized regularly as a part of India@75- Azadi Ka Amrit Mahotsav. Films are regularly loaned to MEA for screening by Missions/Posts abroad. The Films Division has an updated website too which is interactive and user-friendly. The video-on-demand facility is activated on the website on a pilot basis with select 70 titles and a window, “Documentary of the week” has been created on the homepage for film lovers to watch a documentary film on a weekly basis. Select documentary films interesting subjects/topics

on various are made

accessible to the public by uploading them on the FD YouTube channel & Ministry of I&B website. Currently, 843 films are available on YouTube and 477 films on the MIB website. The FD YouTube channel has a subscriber base of 127K. Website: www.filmsdivision.org Ministry of I&B: mib.gov.in/media/filmsdivision-videos Youtube: www.youtube.com/user/ FilmsDivision Films Division’s films participate in major Indian and International film festivals and have around 2000 awards and accolades in its kitty. The Head Office is located in Mumbai and it has six distribution Branch Offices and three Production Centers across the country. The employees include Film Directors, Editors, Cinematographers, Sound Recordists, Animators, and Artists apart from ministerial and non-ministerial staff in administration, accounts, and distribution/marketing wings. The Films Division also assists other media units like DFF (for organizing IFFI) and CBFC with manpower and technical expertise.

Films Division’s films participate in major Indian and International film festivals and have around 2000 awards and accolades in its kitty

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Film BODIES

Mumbai International Film Festival - MIFF

National Film Archive of India (NFAI)

(May 29 - June 4, 2022)

umbai International Film Festival for Documentary, Short Fiction and Animation, popularly known as MIFF, is the oldest and largest film festival for non-feature films in South Asia. Began in 1990 as BIFF and later re-christened as MIFF, this international event is organized by Films Division for the Ministry of Information & Broadcasting, Government of India. Since its inception in 1990, the festival has grown in scope and scale and is attended by cineastes from around the globe. The Organizing Committee of MIFF is headed by the Secretary, I&B and consists of eminent film personalities, documentary makers and senior media officials. MIFF provides a platform for documentary film makers from all over the world to meet, exchange ideas, explore the possibilities of co-productions and marketing of documentary, short and animation films and also broadening the vision of the film makers vis-à-vis world cinema. Documentary cinema creates the most significant impact on the world. One that not only educates, inspires and motivates a change in the society but also acts as a tool that transcends cultures and boundaries. The flourishing non-fiction film movement spearheaded by MIFF has gained momentum with the increased need for more realistic content opposed to the more dramatized and commercial fiction stories. MIFF with participation of world’s leading documentary making countries with their best content, gives Documentary, Animation and Short Fiction film makers their wings so that 208

they can soar into deeper conceptualizations that accommodate narratives of the past, present and future of the society. To add more colour, variety and substance to the MIFF, apart from films in competition categories, best documentaries, short fiction and animation films produced in India and abroad are screened under special packages including Jury retrospectives, Homages, Oscar films, Country Focus, Best of Animation, Students’ Best and Best of Festivals, which deeply engage MIFF delegates. The Workshops and Master Classes in MIFF are curated keeping in mind the changing technology in cinema and introduction of new, improved tools to tell a visual story. Open Forum and Panel discussions on the aesthetics and technical aspects of film making and B 2 B meet have also been attractions of MIFF. The Best of MIFF, Mini MIFF, organized post MIFF, helps out-reach best documentaries, made around the world, to cinephiles in different parts of the country. MIFF not only recognizes best talents in documentary, short fiction and animation films by presenting Golden, Silver Conches and trophies, but it also gives away handsome cash awards in different competition categories. The highest and most prestigious award in the MIFF, the Best Film of the Festival, carries a cash prize of Indian Rupees One million and a Golden Conch while other awards carry Silver Conch and cash awards varying from five lakh to one lakh along-with trophy and certificate. India Film Guide 2022

n 1964, the Government of India established the National Film Archive of India (NFAI) – a media unit of the Ministry of Information and Broadcasting. NFAI, along with the Film Institute of India in Pune, developed to become the national resource center for film and film-related material. Since then, its staff has had the arduous task of tracking down and acquiring any film and related material, which has a particular focus on the history and heritage of Indian cinema. All major funding comes from the Indian government. Since 1969, NFAI has been a member of the International Federation of Film Archives (FIAF). NFAI’s mission developed into the following objectives:  To trace, acquire and preserve for posterity the heritage of national cinema and a representative collection of world cinema  To classify and document data related to film and undertake and encourage research on cinema  To act as a center for the dissemination of film culture in the country, and to promote Indian cinema abroad

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NFAI Infrastructure Today, the NFAI headquarters at Law College Road, also known as Phase-1 has two theaters including a Preview Theatre, a book library, a digital library at Jayakar Bungalow and three storage vaults designed specifically for its film holdings. The NFAI provides various services to facilitate historic and scholarly research and appreciation of films. The three theaters on-site at Phase-1 and Phase 2-Kothrud are used for Archival screenings and for individuals or organizations to rent. For a fee, both the main theater (330-seat) and the preview theater (30-seat) at Law College Road, and the main theater (200-seat) at its Phase 2 building provide patrons the use of their rooms and projection facilities to provide a more enjoyable experience in viewing films. Both the theaters are equipped with 4K and 2K Christie Projectors. Both theaters of Phase-1 main theater have 35mm change over projectors. Preview theater also has 8mm and 16mm projection facilities. The Phase-2 of NFAI comprises a four-storey building including 16 film vaults, and an additional building with 8 nitrate vaults. They are stored in climate-controlled vaults with temperature and humidity according to the prescribed international standards. Each vault houses about 6000 reels, which is close to 200 titles.

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Film BODIES Within the Film Library, there is viewing equipment for scholars, researchers and individuals who wish to view a particular film or video. Viewing facilities come in 35mm, 16mm film and VHS with which individuals can watch a particular title from the collection. NFAI is dedicated to its role in the “dissemination of film culture” by focusing on research and education of the archives.The NFAI Book Library holds about 30,615 books on cinema from across the globe. It has more than 100 periodicals on Cinema published in various languages as well as 45,040 film scripts received from the Central Board of Film Certification (CBFC) are also available. Censor records going back to the 1920s and bound volumes of Indian film magazines from the 1930s onwards are among the other important materials available for reference and study. These records have been digitized and are accessible through the NFAI website

Film BODIES for wider dissemination. The library extends services to students, research workers, journalists and anyone interested in Cinema. Most of the old periodicals, rare books and scripts are digitized. The Research and Documentation Section of NFAI houses a collection of material relating to every period of Indian cinema. The section has 2,03,287 still photographs, prints of all unique photographs, 40,919 film posters of various sizes, 24,797 song booklets, lobby cards, about 2,28,025 press clippings. NFAI has digitized its photo and paper collection to avoid handling of the original material. There is a database to retrieve available at the archive to retrieve relevant information that is made available to researchers, authors etc. This section accepts donations and ancillary material. The NFAI supplies stills / photographs / soft copies to research scholars, journalists, festival organizers for research and publication purposes.

National Film Heritage Mission

he National Film Heritage Mission (NFHM) was launched in 2015. It is a Rs. 597 crores (USD 91.4 million) project for preserving and restoring the film heritage of India. Under NFHM, NFAI brought in several international advisers such as film preservationists, Milton ‘Milt’ Shefter and Rick Utley.

The condition assessment of the film reels was envisaged on the basis of storage vault condition assessment, film condition assessment and categorization, repairing of film reels, RFID tagging of film reels and cans, creation of metadata and an asset tracking solution. As part of NFHM, 1,50,000 reels underwent condition assessment.

The objectives of NFHM are:

For digitization of approx. 5000 titles of celluloid film, NFHM is using the best of technological advancements by using the ARRI-XT Scanners for picture and Sondor audio scanners. NFHM is also taking steps in the direction towards conservation and restoration of the films being digitized under the project and for all the films at the archive.

 C ondition assessment of film reels to

ascertain the remaining life of the film  2K/ 4K Digitization of Films  2 K/4K picture and sound restoration of

landmark films of Indian and recording of new picture and sound inter-negatives of each film  C onstruction of archival and preservation

facilities called vaults

NFAI is dedicated to its role in the “dissemination of film culture” by focusing on research and education of the archives.The NFAI Book Library holds about 30,615 books on cinema from across the globe

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 T rainings and workshops for in-house

capacity building  W eb-based end to end IT solution.

NFAI has proposed construction of new vaults at a new building at phase 3. Considering the future goals, the phase 3 of NFAI has the state-of-the-art vaults constructed under the supervision of Milt Shefter; a conservation lab that will deal with film, paper, and photographic material; and a theater. In this building NFAI can store about 2,00,000 reels for long term preservation. Cannes Film Market

At present, Preventive conservation and Restoration projects will kick-off under full swing. World’s largest film restoration project under the National Film Heritage Mission (NFHM) with a budget of INR 363 crores is awarded on 4th May 2022 by the Ministry. Under NFHM, 2253 titles(1145 features and 1108 shorts) will undergo restoration. The titles have been shortlisted by forming language wise committees consisting of filmmakers, documentary filmmakers, film historians, producers etc. The restoration of Indian films will once again give a chance to the current and future generations to relive the glory of these films which have enamored audiences for decades. 211

Film BODIES

National Museum of Indian Cinema

ext time when you are in Mumbai, make sure to visit the National Museum of Indian cinema (NMIC) in Peddar Road.

NMIC showcases the multi-faceted aspects of the film industry, its rich tradition and the struggles the people have undergone in making movies. The Museum is housed in two buildings – the New Museum Building and the 19th century heritage building, Gulshan Mahal – both at the Films Division complex.. The Museum showcases history of India Cinema and has ample artefacts, digital elements including kiosks, interactive digital screens, information based screen interfaces, etc. The National Museum of Indian Cinema is a ready-reckoner of the history of Indian cinema showcasing technological aspects of production and screening of films, as well as its social aspects of more than 100 years. Through its interactive galleries, it traces the evolution of celluloid from the Lumiere Brothers, Raja Harishchandra onwards, and showcase Indian cinema in three stages - silent era, golden era and the modern era. It portrays the footsteps taken by Indian cinema, from the period of silent films to the studio period, and then recreate the times when stars and mega stars dominated the silver screen.

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various facets associated with making cinema like camera, light, shooting, experience of acting, etc. – presented in an interactive format. The exhibits displayed include chroma studio, immersive experience zone, stop-motion animation studio, virtual makeover studio, etc.

Visitors can also watch clips of old classics on a number of monitors or listen to rare film music from the past. There is also an interesting collection of posters of landmark movies from across India. A Section on cinemas from all parts of India are on display. Many famous studios of yesteryears like Mehboob Studios, RK Studios and Prasad Studios have donated equipment to the museum. Some private collectors too have come forward to donate items. The Films Division has also displayed old Eymo and Mitchel cameras, recording equipment etc. from its collection. Also of interest are some even older instruments that created an illusion of movement, which were precursor to the movie camera. The New Museum Building has four Exhibition Halls which encapsulate: Gandhi & Cinema: It not only depicts the movies made on the life Mahatma Gandhi but also showcases the deep impact his life had on cinema. Children’s Film Studio: It gives visitors, particularly children, an opportunity to explore the science, technology and art behind filmmaking. It offers hands on experience on

India Film Guide 2022

Technology, creativity & Indian cinema: It showcases the creative use of technology by Indian filmmakers over the years to produce cinematographic impact on the silver screen.

Gulshan Mahal is an ASI Grade-II Heritage Structure which has been restored as part of the NMIC project. The displays present here showcase the journey of over a hundred years of Indian cinema. It is divided into 9 sections viz. The Origin of Cinema, Cinema comes to India, Indian Silent Film, Advent of Sound, The Studio Era, The impact of World War II, Creative Resonance, New Wave and Beyond and Regional Cinema.

Cinema across India: it showcases the charismatic kaleidoscopic presence of the vibrant cinematographic culture across India.

The Purpose and Objectives of the Museum are to encapsulate the sociocultural history of India as revealed through the evolution of cinema; To develop as a research centre focusing on the effect of cinema on society; To exhibit the work of the noted directors, producers, Institutions etc. for the benefit of visitors/film enthusiasts

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INSTITUTIONS OF EXCELLENCE Creating the skilled talent base for the media and entertainment industry

Film Bodies

Film and Television Institute of India, Pune

Satyajit Ray Film and Television Institute, Kolkata

Designed for a new generation storytellers, the Film and Television Institute of India is for visual and performing artists who share a passion for motion pictures and want to learn more

A national centre of excellence which offers post graduate programmes in cinematic studies, the institute is named after legendary filmmaker Satyajit Ray

he Film and Television Institute of India is designed for a new generation of storytellers: visual and performing artists who share a passion for motion pictures and want to learn by making their own projects in a hands-on, intensive program. FTII students are not lost in large classes. As an explicit policy, we limit class size to make individual attention and interaction among students and instructors possible. All students are encouraged to meet faculty one-on-one for consultation throughout their course, creating an environment that promotes personal development and learning. In keeping with this philosophy, FTII takes pride in its open door policy of admission. Students from diverse backgrounds and from

all walks of life are welcome. This nurtures a supportive, positive atmosphere conducive to the level of collaboration required to do great work. Celebrated guest speakers from the film, television, and media industries frequently visit FTII to share their knowledge and experience with our students. Learning to be a Director, Cinematographer, Editor, Sound Designer, Art Director, Actor, Screen Play Writer or Animator is not done “by mere numbers.” It is done by handson experience, trial and error, feedback and correction, and questions and answers. Filmmaking demands the integration of many kinds of knowledge. It is the integration of knowledge that distinguishes FTII from many other film schools.

It is the integration of knowledge that distinguishes FTII from many other film schools 216

India Film Guide 2022

amed after the legendary film maestro Satyajit Ray, the Institute has emerged as a national center of excellence which offers post-graduate program in Cinematic studies. SRFTI has succeeded in articulating and disseminating classical and contemporary theories of praxis for the creative minds to leap into the world of professional practice: be it mainstream, parallel, art-house, experimental or non-fiction narratives. The Institute has crossed many mile stones towards a new paradigm of the art and craft of Film making…… Our alumni have been winning accolades regularly through their mastery over film-making. They have been trendsetters, changing the course of film-making through the fusion of thought, craft and entrepreneurial abilities. By proving their mettle as dedicated professionals,

they have increased the acceptability of current students in the complex and competitive world of film-making. With state-of-the art facilities, SRFTI provides a creative ambiance to inspire the budding film makers with an innovative language of artistic expression. And their contribution builds the blocks for better Cinema. SRFTI is a member of CILECT, international Association of Film and Television Schools (Centre International de Liaison des Ecoles de Cinéma et de Télévision). Our student’s films winning national and international awards and selections at the most prestigious film festivals of the world is a regular feature at SRFTI’s achievement graph. Here creative energies fuse with cinematic craft to transform ideas into life!

At SRFTI, creative energies fuse with cinematic craft to transform ideas into life! Cannes Film Market

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FILMS

INDIAN PANORAMA FUTURE FILMS

CO-PRODUCTION AGREEMENTS Between India & other Countries

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CO-PRODUCTION AGREEMENTS

BANGLADESH

2. “Competent Authorities” shall be (i)

On behalf of the Government of the Republic of India, Ministry of Information and Broadcasting; and

(ii) On behalf of the Government of the People’s Republic of Bangladesh, Ministry of Information.

Audio-Visual Co-Production Agreement Between The Republic Of India And The People’s Republic Of Bangladesh

3. The term “Co-producer” means a person who is a citizen of the Republic of India or the People’s Republic of Bangladesh, or a legal entity based in the territory of either country who is authorized to enter into co-production contracts with a view to organising, carrying out and co-financing film production; ARTICLE 2 Recognition as a National Film and Entitlement to Benefits 1. A co-production film shall be fully entitled to all the benefits which are or may be accorded to national films by each of the Parties under their respective national laws.

Government of The Republic of India and the Government of the People’s Republic of Bangladesh (hereinafter referred to as the “the Parties”)

2. These films shall be entitled to claim all state support and benefits available to the film and video industries and the privileges granted by the provisions in force in the respective countries.

SEEKING to improve cooperation between the two countries in the audiovisual field and aware of the contribution which co-production can make to the development of the audiovisual industry.

ARTICLE 3

DESIROUS of promoting and facilitating the co-production of films between the two countries, and the development of their cultural and economic exchanges and immediate Co-Production of a “Documentary Film on Bangladesh Liberation War in 1971”.

1. Each Party shall permit, in accordance with their respective legislation(s), temporary import and export of any equipment necessary for the production of an approved audio-visual co-production.

CONVINCED that these exchanges shall contribute to improving relation and economic exchanges between the two countries HAVE AGREED AS FOLLOWS – ARTICLE 1

Each Party shall permit any person employed in the making of promotion of an approved co-production to enter and remain in the co-producing countries, as the case may be, during the making or promotion of the film, subject to the requirement that they comply with the respective country’s legislation relating to entry, residence and employment.

ARTICLE 4

Definitions

Participants

In this Agreement, unless the Agreement otherwise requires – 1. A co-production is a film including feature film, documentary, and animation film irrespective of length, for exploitations in cinemas, televisions or any other forms of distributions, jointly invested in and produced by co-producers made in accordance with the terms of recognition given by the competent authorities of India and Bangladesh under this Agreement. New forms of audio-visual production shall be included in the present Agreement by exchange of notes between the Parties. 220

Temporary Entry into the Country

India Film Guide 2022

1. The persons participating in the production of a film shall fulfill the following requirements – a. As regards the Republic of India, they shall be – (i)

Nationals/Citizens of the Republic of India or

(ii) Entities which are established and/or incorporated in India b. As regards the People’s Republic of Bangladesh, they shall beCannes Film Market

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CO-PRODUCTION AGREEMENTS (i)

CO-PRODUCTION AGREEMENTS

Nationals/Citizens of the People’s Republic of Bangladesh or

(ii) entities which are established and/or incorporated in Bangladesh. 2. Participants in the co-production as defined in sub paragraphs (a) and (b) of 1 must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity. 3. Should the film so require, the participation of professionals who are not citizens of any of the co-producing countries may be permitted, but only in exceptional circumstances, and subject to the approval of the competent authorities of both the countries. ARTICLE 5

6. The Annexure shall come into force as soon as the Parties have notified each other of the completion of their respective legal and constitutional procedures. 7. In determining an application made to it, a Competent Authority shall apply these requirements in accordance with guidelines published by the Competent Authority under this Article. 8. Each Competent Authority may from time to time publish guidelines consisting of such information and advice as it considers appropriate with respect to – a. how applications are to be made to the Competent Authority; and b. the operation and interpretation of this Agreement

Contribution

9. Such guidelines shall, in particular, set out –

Notwithstanding the provisions of this Agreement and in the interest of bilateral co-productions, even those films which are produced in one of the two countries and where the minority contribution is limited to financial investment, may be granted co-production status according to the co-production agreement. In such a case, the minority contribution may not be less than 20% (twenty per cent) of the final total cost of the film. ARTICLE 6 Conditions for obtaining Co-production status

a. how the Competent Authority proposes to make decisions on applications for the grant of Approved Co-production status, and b. factors it will take into account while exercising any discretion conferred on it by this Agreement. 10. Nothing in this Agreement binds the competent authorities in the territories of the Parties to permit the public exhibition of a film, which has been granted Approved Co-production status. ARTICLE 7

1. Co-productions shall require, prior to the commencement of shooting, approval of the Competent Authorities of both countries.

Film Negatives and Languages

2. Approvals granted under their respective national laws, shall be in writing and shall specify the conditions under which the approval is granted. None of the co-producers shall be linked by common management partnership or control, save to the extent that such links are inherent in the making of the Audiovisual Co-production itself. 3. In considering proposals for the making of an Audiovisual Co-production, both Competent Authorities shall apply the rules and principles set out in this Agreement as well as in its Annexure, with due regard to their respective policies and guidelines. 4. The Annexure shall also include rules of procedures on –

1. The original soundtrack of each Audiovisual Co-production shall be made in Hindi, or Bangla, or in any other Indian language or dialect, or in English or in any combination of those permitted languages. Dialogue in other languages may be included in the Audiovisual Co-production, as the script requires. 2. The dubbing or subtitling into one of the permitted languages of the Republic of India or Bangla shall be carried out in the Republic of India, or in the People’s Republic of Bangladesh. Any departure from this principle must be approved by the competent authorities. ARTICLE 8 Minority and majority contribution in the case of multilateral co-productions

a. the granting of approvals of an application for Approved Co-production status; b. the withdrawal of Approved Co-production status; c. any other matters that the Parties consider desirable. 222

5. The Annexure shall include provision as to the criteria for measuring mutual benefits.

India Film Guide 2022

Subject to the specific conditions and limits laid down in laws and regulations in force in the Parties, in the case of multilateral co-productions, the minority contribution may not be less than 10% (ten per cent) and the majority contribution may not exceed 70% (seventy per cent) of the total cost of the film.

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CO-PRODUCTION AGREEMENTS

ARTICLE 9

ARTICLE 13

Balanced contribution

Amendment

1. A general balance should be maintained with regard to both the artistic and technical personnel, including the cast, and with regard to the financial investment and facilities (studios, laboratories, and postproduction).

This Co-production Agreement may be amended by the mutual written consent of the Parties through the exchange of notes between the Parties through the diplomatic channel.

2. The Joint Commission, established in terms of this Co-production Agreement, shall carry out a review to see whether this balance has been maintained and, if this is not the case, shall take measures, which it considers necessary in order to re-establish such a balance.

ARTICLE 14

ARTICLE 10

Settlement of Disputes Any dispute arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation between the Parties.

Joint Commission

ARTICLE 15

1. The Joint Commission shall comprise representatives from Governments of both Parties and from the film industry of both Parties.

Entry into Force, Duration and Termination of the Agreement

2. The role of the Joint Commission shall be to supervise and review the implementation and operation of this Agreement and to make any proposals considered necessary to improve the implementation of the Agreement. 3. The Joint Commission shall be convened, whether by meeting or otherwise, at the request of either of the Parties within three months of such a request. ARTICLE 11 Entry in International Film Festivals

2. Termination of the present Agreement shall not affect the implementation of the projects, which are already in progress under the present Agreement and shall be continued in accordance with the terms and conditions of the Agreement. 3. The Annexure of this Agreement shall be an integral part of this Agreement.

1. The majority co-producer shall normally enter co-produced films in international festivals as a co-production. 2. Films produced on the basis of equal contributions shall be entered as a film of the country of which the director is a national, provided that the director is not from a third country in which case the film shall be submitted as a film of the country of which the lead actor is a national, subject to the agreement of the competent authorities of both Parties. ARTICLE 12 Credits A co-production film and the promotional materials associated with it shall include either a credit title indicating that the film is “an official Indian-Bangladesh Coproduction” or “an official Bangladesh- Indian Co-production”.

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1. The present Agreement shall come into effect from the date of its signature and shall continue to be in force for 5 years, unless either Party terminates the present Agreement by giving a written notice of its intention to terminate it to the other Party at least six (6) months in advance and may be renewable with the consent of both parties.

India Film Guide 2022

4. IN WITNESS WHEREOF, the undersigned being duly authorized thereto, by their respective Governments, have signed this Agreement. Done at New Delhi on this 8th day of April 2017 in two originals in the English language.

For the Republic of India

For the People’s Republic of Bangladesh

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

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CO-PRODUCTION AGREEMENTS

ANNEXURE

Procedures General Provisions Applications for any benefits under this Agreement in aid of any co-production must be submitted simultaneously to the Competent Authorities at least sixty (60) days before filming begins. The Competent Authorities of the country of which the majority co-producer or another co-producer indicated by the co-producers is a citizen shall convey their decision to the Competent Authorities of the other country within thirty (30) days of the submission of the complete documentation listed below. Again within thirty (30) days, the Competent Authorities of the other country shall convey their decision to the Competent Authorities of the first country and to the co-producer appointed by the co-producers.

A clause confirming that the acceptance of a co-production does not imply any production will be distributed in the Parties,

m. A clause obligating the majority co-producer to take out an insurance policy providing cover at least against “all production risks” and “all production risks connected with original materials.” n. The date on which filming commences. o. Release of the Co-production film must be done on the same date in the contracting countries. 4. The distribution agreement, if such an agreement has already been concluded, 5. A detailed budget, showing the expenditures to be incurred by the co-producers in each country.

Applications should be supported by the following documents in the official language of both countries –

6. A single account for each co-produced film must be maintained to handle all financial issues including repatriation of the revenue or proceeds generated.

1. Final version of the script.

7. Remuneration of the technical persons should be equal and non-discriminatory.

2. Evidence of the lawful acquisition of the copyright necessary to a given coproduction,

IMPORTANT PROVISIONS FOR INDIAN PARTY

3. A signed copy of a co-production contract concluded between co-producers, which should contain – a. The title of the co-production, b. The name of the author of the screenplay or of the person who adapted the screenplay, if it is based on literary sources, c. The name of the director, d. A synopsis,

A financial plan, stating the financial input of the co-producers,

g. A clause defining the division of revenues and markets,

2. An accurate description of the shooting locations and the film crew’s travel plans.

h. A clause setting forth a share in the copyright in proportion to the input of individual co-producers, as per intellectual property (IP) right laws.

3. A description of the cinematographic equipment and quantity of film to be brought in to the Republic of India temporarily.

A clause describing what to do if the budget is exceeded,

A clause describing the measures to be taken if one of the co-producers does not discharge its obligations,

Within three weeks of receipt of the required set of documents, the Ministry of Information & Broadcasting will send the appropriate filming permit to all coproducers and the Competent Authorities in the other country. A longer period for issuing the filming permit may be required if filming is to take place in some restricted areas.

k. A clause setting forth the rules governing financial settlements if any coproducer fails to provide the financial contribution agreed upon in the coproduction contract, 226

If the film is to be shot wholly or partly in the Republic of India, the co-producers must provide the Indian Embassy in the Republic of Bangladesh and Ministry of Information & Broadcasting with the following information – 1. Details of any non-Indian members of the film crew – names, passport numbers and expiry dates, country which issued the passport, nationality, permanent and temporary address.

e. A budget plan, f.

In addition, an application addressed to the Indian Ministry of Information and Broadcasting (MIB), should be accompanied by four copies of the screenplay and film synopsis together with a processing fee of US$ 225 payable to Pay & Accounts Officer, Ministry of Information & Broadcasting or for the amount as may be revised from time to time.

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1. Permission from a person or his legal heir who is to be portrayed in the film; a copy of the permission should be attached to the screenplay.

2. If it is necessary to obtain assistance from the Ministry of Defence, Ministry of Culture, etc. separate agreements may have to be concluded with these Ministries. Requests for such assistance may be submitted via the Ministry of Information & Broadcasting.

2. If it is necessary to obtain assistance from the Ministry of Defence, Ministry of Culture, Ministry of Commerce, Ministry of Home Affairs etc. separate agreements may have to be concluded with these Ministries. Requests for such assistance may be submitted via the Ministry of Information.

3. Each film for whose production the assistance of the Armed Forces has been obtained must be presented to the Ministry of Defence in order to obtain permission for its distribution.

4. In particular cases, a film may have to be presented to a representative of the Government of the Republic of India or to the Indian Embassy in the People’s Republic of Bangladesh before it can be shown anywhere in the world. Also in particular cases, a liaison officer may be assigned to a film crew – at the expense of the Government of the Republic of India.

4. In particular cases, a film may have to be presented to a representative of the Government of the People’s Republic of Bangladesh or to the Bangladesh High Commission in the Republic of India before it can be shown anywhere in the world. Also in particular cases, a liaison officer may be assigned to a film crew – at the expense of the Government of the People’s Republic of Bangladesh.

IMPORTANT PROVISIONS FOR BANGLADESH PARTY In addition, an application addressed to the Ministry of Information, Government of the People’s Republic of Bangladesh should be accompanied by four copies of the screenplay and film synopsis together with a processing fee of US$ 225 payable to relevant Officer in the Ministry of Information or for the amount as may be revised from time to time. If the film is to be shot wholly or partly in the People’s Republic of Bangladesh, the co-producers must provide the Bangladesh High Commission in India and Ministry of Information with the following information – 1. Details of any non-Bangladeshi members of the film crew – names, passport numbers and expiry dates, country which issued the passport, nationality, permanent and temporary address. 2. An accurate description of the shooting locations and the film crew’s travel plans.

CONCLUDING PROVISIONS The Competent Authorities may ask for any additional documents or information which they consider essential in order to consider an application for a co-production. The final screenplay (with script) should be presented to the Competent Authorities prior to the start of filming. Amendments, including a change of co-producer, may be made to the original co-production contract. However, any amendments must be submitted to the Competent Authorities for approval before the co-production is completed. A change of co-producer is permissible only in exceptional circumstances, and for reasons considered by the Competent Authorities to be satisfactory. The Competent Authorities shall inform each other of the decisions they have reached.

3. A description of the cinematographic equipment and quantity of film to be brought in to the People’s Republic of Bangladesh temporarily. Within three weeks of receipt of the required set of documents, the Ministry of Information will send the appropriate filming permit to all co-producers and the Competent Authorities in the other country. A longer period for issuing the filming permit may be required if filming is to take place in some restricted areas. Permission to film in the People’s Republic of Bangladesh may be dependent upon the following conditions –

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BRAZIL

New forms of audiovisual production shall be included in the present agreement by exchange of Notes between the Contracting Parties. 3. “Co-producer” shall be:

Agreement Between the Government of the Republic of India And The Government of the Federative Republic of Brazil On Audio Visual Co-Productions.

a. As regards the Republic of India: (i)

Nationals/citizens of the Republic of India;

(ii) Permanent residents of India; and (iii) Entities which are established and/or incorporated in India. b. As regards the Federative Republic of Brazil: (i)

Nationals/citizens of the Federative Republic of Brazil;

(ii) Permanent residents of Brazil; and (iii) Entities which are established and/or incorporated in Brazil. 4. “Competent Authority” means: a. On behalf of the Federative Republic of Brazil, the Ministry of Culture; and b. On behalf of the Republic of India, the Ministry of Information and Broadcasting. ARTICLE 2 The Government of the Republic of India and the Government of the Federative Republic of Brazil (hereinafter referred to as “the Contracting Parties”) Seeking to enhance co-operation between their two countries in the audio-visual area; Desirous of expanding and facilitating the Co-Production of audio-visual works, which may be conducive to the development of the film and audio-visual industries of both countries and to the expansion of cultural and economic exchanges between them; Convinced that these exchanges will contribute to the enhancement of relations between the two countries; Have agreed as follows:

2. Any benefits available in Brazil may only be accorded to a Brazilian Co-producer. 3. Any benefits available in India may only be accorded to an Indian Co-producer. 4. The sharing of expenses and revenues shall be as mutually decided by the Coproducers. ARTICLE 3

ARTICLE 1 Definitions For the purposes of this Agreement 1. “Audiovisual Co-Production” means an audiovisual work jointly invested in and produced by one or more Brazilian Co-producers and one or more Indian Co-producers under a project approved by both Competent Authorities. 2. “Audiovisual Work” means any record of a sequence of related images, irrespective of length, which is intended to be made visible as a moving image through the use of devices, regardless of the medium of initial or subsequent fixation, and for which there is an expectation for public exhibition. It includes films and video recordings, animation and documentary productions for exploitation in theatres, on television, DVD or by any other form of distribution. 230

Benefits 1. An Audiovisual Co-Production shall be treated as a national Audiovisual Work by both Contracting Parties and, therefore, shall be fully entitled to all the benefits which are or may be accorded to national audiovisual works by each of the Contracting Parties under their respective national laws.

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Approval of Projects 1. Audiovisual Co-Productions shall require, prior to the commencement of shooting, approval of both the Competent Authorities. 2. Approvals are granted under their respective national laws, shall be in writing and shall specify the conditions upon which the approval is granted. None of the Co-producers shall be linked by common management, ownership or control, save to the extent that such links are inherent in the making of the Audiovisual Co-Production itself. 3. In considering proposals for the making of an Audiovisual Co-Production, both Competent Authorities shall apply the rules and principles set out in this Agreement as well as in its Annex, with due regard for their respective policies and guidelines. Cannes Film Market

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ARTICLE 4 Contributions 1. For each Audiovisual Co-Production: a. The performing, technical, craft and creative participation of the Coproducers; and b. The production expenditure of the Co-producer in the Republic of India or in the Federative Republic of Brazil shall be in reasonable proportion to their respective financial contributions and as mutually decided by both the Co-producers. 2. Both the financial contribution, and the managerial, performing, technical, craft and creative participation of each Co-producer shall account for at least 20% (twenty per cent) of the total budget of the Audiovisual Co-Production. 3. Notwithstanding the contribution and participation rules set out in paragraphs 1 and 2 of this Article, in exceptional cases both Competent Authorities may approve Audiovisual Co-Productions where: a. The contribution by one Co-producer is limited to the provision of finance only, in which case the proposed finance-only contribution shall be 20% (twenty per cent) or more of the total budget of the Audiovisual CoProduction; or a. Despite falling outside the contribution rules, the Competent Authorities consider that the project would further the objectives of this Agreement and should be approved accordingly. 4. Subject to the specific conditions and limits laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral Co-Productions the minority contribution may not be less than 10% (ten per cent), and the majority contribution may not exceed 70% (seventy per cent) of the total cost of the Audiovisual Work. ARTICLE 5 Third Country Co-Productions 1. Where either the Republic of India or the Federative Republic of Brazil maintains with a third country an Audiovisual Co-Production agreement, the Competent Authorities may approve a project for an Audiovisual Co-Production under this Agreement that is to be made in conjunction with a Co-producer from that third country. 2. Approvals under this Article shall be limited to proposals in which the contribution of the third country Co-producer is no greater than the lesser of the individual contributions of the Brazilian and Indian Co-producers. ARTICLE 6 Participants 1. The screenwriters, the director, actors and other artistic and technical personnel participating in an Audiovisual Co-Production shall be: 232

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a. As regards the Republic of India, (i) Nationals/citizens of Republic of India; and (ii) Permanent residents of India. b. As regards the Federative Republic of Brazil, (i) Nationals/citizens of the Federative Republic of Brazil; and (ii) permanent residents of Brazil. c. In cases in which there is a third Co-producer, (i) Nationals/citizens of the third Co-producer’s country; and (ii) Permanent residents of the third Co-producer’s country. 2. Participants in an Audiovisual Co-Production as defined in this Article must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity. 3. In exceptional cases, both Competent Authorities may approve Audiovisual Works a. where script or financing dictate the engagement of performers from other countries; and b. where artistic or financing reasons dictate the engagement of technical personnel from other countries. ARTICLE 7 Negatives, First-Release Print and Languages 1. At least one negative and one duplicate negative shall be made of all Audiovisual Co-Productions. Each Co-producer shall be entitled to make a further duplicate or prints there from. Each Co-producer shall also be entitled to use the original negative in accordance with the conditions agreed upon between the Co-producers themselves. The storage of the original negative shall be as mutually decided by the Co-producers. 2. Audiovisual Co-Productions shall be made and processed up to the manufacture of the first release print in the Republic of India or in the Federative Republic of Brazil or, when there is a third Co-producer, in that third Co-producer’s country. 3. The original soundtrack of each Audiovisual Co-Production shall be made in Hindi, or any other Indian language or dialect, or in English or Portuguese, or in any combination of those permitted languages. Dialogue in other languages may be included in the Audiovisual Co-Production, as the script requires. 4. The dubbing or subtitling into one of the permitted languages of the Republic of India or into Portuguese shall be carried out in the Republic of India or in the Federative Republic of Brazil. Any departure from this principle must be approved by the Competent Authorities.

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ARTICLE 8 International Festivals 1. The majority Co-producer shall normally enter Audiovisual Co-Productions in international festivals. 2. Audiovisual works produced on the basis of equal contributions shall be entered as an Audiovisual Work of the country which the director is from. ARTICLE 9 Location Shooting 1. The Competent Authorities may approve location shooting in a country other than those of the participating Co-producers. 2. Notwithstanding Article 6, where location shooting is approved in accordance with the present Article, citizens of the country in which location shooting takes place may be employed as crowd artists, in small roles, or as additional employees whose services are necessary for the location work to be undertaken. ARTICLE 10 Credits An Audiovisual Co-Production shall include a title, in the initial credits, indicating that the Audiovisual Work is an “Official Indian – Brazilian Co-Production” or an “Official Brazilian – Indian Co-Production”. The promotional material associated with the audiovisual work shall likewise include a credit reflecting the participation of the Republic of India, the Federative Republic of Brazil and, when relevant, the country of a third Co-producer.

1. A Joint Commission shall be established comprising representatives of the Competent Authorities from both Contracting Parties. 2. The role of the Joint Commission shall be to evaluate the implementation and operation of this Agreement and to make any proposals considered necessary to improve the effect of the Agreement. 3. The Joint Commission shall be convened, whether by meeting or otherwise, at the request of either of the Contracting Parties within six months of such a request. ARTICLE 13 Entry into Force 1. This Agreement shall enter into force on the date of the second notification between the Contracting Parties, through diplomatic channels, conveying that the requirements for the entry into force of this Agreement have been satisfied. 2. This Agreement including the Annex, which forms an integral part of this Agreement, shall remain in force for an unlimited period of time, unless terminated in terms of paragraph 3 of this Article. 3. Either Contracting Party may terminate this Agreement by giving six months` written notice in advance of such intention to the other Contracting Party through the diplomatic channel. 4. Termination of this Agreement shall have no effect on the completion of Audiovisual Co-Productions approved prior to its termination.

ARTICLE 11

ARTICLE 14

Temporary Entry into the Country 1. For approved Audiovisual Co-Productions, each Contracting Party shall facilitate, in accordance with the domestic law in force in its country:

Permission for Public Exhibition 1. Permission for public exhibition will be in accordance with local laws in both India and Brazil.

a. Entry into and temporary residence in its territory for technical and artistic personnel of the other Contracting Party;

2. The approval of Co-Production status under this Agreement will not mean a commitment to permit public exhibition of the Audiovisual Co-Production.

b. The import into and export from its territory of technical and other filmmaking equipment and materials by producers of the other Contracting Party; and

ARTICLE 15

c. The transfer of funds destined for payments related to the audio-visual Co-Productions. 2. These dispositions also apply to third parties, approved under Article 5 of the present agreement. ARTICLE 12 Joint Commission

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Amendment 1. This Agreement may be amended by mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through diplomatic channel. ARTICLE 16 Dispute Resolution Any dispute between the Contracting Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through

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CO-PRODUCTION AGREEMENTS for his/her replacement if necessary);

consultation and negotiation only. DONE at New Delhi, on the of June, 2007, in two originals in Hindi, Portuguese, and English, each version being equally authentic. In case of any divergence of interpretation, the English text shall prevail.

(iv) The budget, identifying the expenses to be incurred by each Coproducer;

For the Republic of India

(vi) A clause establishing the sharing of revenues, markets, media or a combination of these;

For the Government of Federative Republic of BRAZIL

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

Annexure to Agreement between the Government of the Republic of India and the Government of the Federative Republic of Brazil on Audio Visual Co-Productions (Rules of procedure for applications for approval of Co-Production status under this agreement)

(v) The financing plan;

(vii) A clause detailing the respective shares of the Co-producers in any over expenditure; the minority Co-producer’s share may be limited to a lower percentage or to a fixed amount, provided that the minimum proportion permitted under Article 4 of the Agreement is respected; (viii) A clause recognizing that admission to benefits under this Agreement does not constitute a commitment that governmental authorities in India will grant a license to permit public exhibition of the Audiovisual Work; (ix) A clause prescribing the measures to be taken where:

Annex 1. Applications for qualification of an Audiovisual Work for Co-Production benefits under this Agreement must be made simultaneously to both Competent Authorities at least 60 (sixty) days before shooting begins. 2. The Competent Authority of one of the Contracting Parties shall communicate their decision to the other Competent Authority within thirty (30) days of the submission of the complete documentation. 3. The approval process under Article 3 of this Agreement shall comprise of approval prior to commencement of shooting of the Audiovisual Work. 4. Documentation submitted in support of an application shall consist of the following items, drafted in English in the case of India and in Portuguese in the case of Brazil: a. The final script and synopsis. b. Documentary proof of having legally acquired the copyright to produce and exploit the Audiovisual Work. c. A copy of the Co-Production contract signed by the Co-producers. The contract shall include: (i)

The title of the Co-Production;

(ii) The name of the original script writer or that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a film from the author/legal heirs shall be attached;

After full consideration of the case, the Competent Authorities in either country refuse to grant the benefits applied for;

Either one or the other Contracting Party fails to fulfil its commitments.

The period when shooting is to begin;

A clause stating that the majority Co-producer shall take out an insurance policy covering at least “all production risks” and “all original material production risks”; and

A clause providing for the sharing of the ownership of copyright on a basis that it is proportionate to the respective contributions of the Co-producers.

5. The distribution contract, if it has already been signed, or a draft if it has yet to be concluded. 6. A list of the creative and technical personnel indicating their nationalities. 7. The production schedule. 8. Final shooting script. 9. The Competent Authorities can demand any further documents and all other additional information deemed necessary. 10. Amendments, including the replacement of a Co-producer, may be made in the original contract, but they must be submitted for approval by the Competent Authorities before the Audiovisual Co-Production is finished. The replacement of a Co-producer may be allowed only in exceptional cases and for reasons satisfactory to the Competent Authorities.

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CANADA

(c) “Canadian elements” are expenditures made in Canada by the Canadian producer or expenditures on Canadian creative and technical personnel made in other States by the Canadian producer in the course of the production of a work;

AUDIOVISUAL CO-PRODUCTION AGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE GOVERNMENT OF CANADA.

(d) “competent authority” means, for each Party, the delegated authority responsible for the negotiation and implementation of this Agreement; (e) “distribution or broadcasting” means the public exhibition or showing of an audiovisual work; (f) “Indian elements” are expenditures made in India by the Indian producer or expenditures on Indian creative and technical personnel made in other States by the Indian producer in the course of the production of a work; (g) “national” means a natural or legal person having a legal relationship which connects that person to a State and which confers to that person, under the law of that State, the right to benefit from the application of the relevant provisions of this Agreement; (h) “non-party” means a State which does not have a coproduction Agreement or memorandum of Understanding with either Party; (i) “producer” means a national managing the production of a work;

The Government of the Republic of India and the Government of Canada (the “parties”), Recognizing that quality audiovisual co-productions contribute to the vitality of the audiovisual industries of the Parties and to the development of their economic and cultural exchanges;

(j) “third-country” means a State which has a co-production Agreement or memorandum of Understanding with at least one of the Parties; (k) “work” means an eligible audiovisual work to be subsequently recognized as an official co-production by each Party and includes every version thereof. ARTICLE 2 - GENERAL CONDITIONS

Appreciating that cultural diversity is nurtured by ongoing exchanges and interaction between cultures and that it is strengthened by the free flow of ideas;

1. A Party shall treat every work as its own production, and to that extent, make it eligible for the same benefits as those available to its audiovisual industries.

Recalling that, in pursuit of international cooperation, the UNESCO Convention on the Protection and Promotion of Diversity of Cultural Expressions, done at Paris on October 20, 2005, encourages the conclusion of co-production agreements as a means to promote international cooperation;

2. Each Party shall grant the benefits referred to in paragraph 1 to the producers of a work who are its own nationals. 3. Each Party shall strive to achieve overall balance on the financing of works coproduced over a period of five years.

Agreeing that these exchanges will enhance relations between the Parties;

ARTICLE 3 - PARTICIPATING PRODUCERS

Recognizing that these objectives may be achieved by granting domestic benefits to qualified audiovisual co-productions; Have agreed as follows:

1. A work shall be jointly produced by producers of both Parties.

ARTICLE 1 - DEFINITIONS For the purposes of this Agreement: (a) “administrative authority” means, for each Party, the authority which administers the application of this Agreement; (b) “audiovisual” means film, television, and video projects made on any production support, existing or future, for any distribution platform intended for viewing;

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2. In addition to producers of Canada and India, third-country producers may also participate in a work. ARTICLE 4 - PROPORTIONALITY 1. The share of work expenditures spent on Canadian elements and on Indian elements respectively shall be in reasonable proportion to the producers’ respective financial contribution. 2. The administrative authorities may, by mutual consent in writing, recommend exemptions from paragraph 1, notably for storyline and creative purposes. Cannes Film Market

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ARTICLE 5 - NATIONALITY OF PARTICIPANTS

ARTICLE 11 - STATUS OF ANNEX

1. Subject to paragraph 2, a participant in a work shall be a national of one of the Parties.

1. The Annex to this Agreement is for administrative purposes and is not part of this Agreement.

2. The administrative authorities may by mutual consent in writing grant exemptions from paragraph 1 notably to allow third-country nationals or nonparty nationals to participate in a work for storyline, creative, or production purposes.

2. The Annex may be modified by the competent authorities by mutual consent in writing, provided that the modifications do not conflict with this Agreement.

ARTICLE 6 - TEMPORARY ENTRY AND RESIDENCE Subject to the Parties’ respective legislation and regulations, the Parties shall facilitate the following: (a) The temporary entry into and residence in their respective territories of the creative and technical personnel and the performers engaged by the producer of the other Party for the purposes of the work; (b) The temporary entry and re-export of any equipment necessary for the purposes of the work. ARTICLE 7 - COPYRIGHT The Parties shall ensure that the sharing of copyright and revenues between the producers is, in principle, proportional to their respective financial contribution in accordance with the respective requirements of the Parties. ARTICLE 8 - DISTRIBUTION 1. Each Party shall verify that its producer demonstrates the existence of a distribution or broadcasting commitment in each other’s territory and, if thirdcountry producers are involved in the work, in the territory of each of the third country producers. 2. The administrative authorities may by mutual consent in writing, accept an alternative distribution commitment in lieu of the commitment described in paragraph 1, provided that the producers of a work demonstrate that this alternative commitment exists. ARTICLE 9 - MATERIAL CHANGES Each Party shall ensure that its producer promptly advises its administrative authority of any material change to a work that may affect its qualification for benefits under this Agreement. ARTICLE 10 - COMMUNICATION Each competent authority shall promptly advise the other of any amendment or judicial interpretation of domestic law that may affect benefits available under this Agreement.

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ARTICLE 12 - MEETINGS AND AMENDMENTS 1. Meetings will be held as needed between representatives of the competent authority of each Party, to discuss and review the terms of this Agreement. 2. The Parties may amend this Agreement by mutual consent in writing. The amendments shall enter into force on the date of the last written notification that domes tic procedures necessary for the entry into force have been completed by the Parties. ARTICLE 13 - TRANSITIONAL PROVISION A Party shall not discontinue benefits conferred on a work pursuant to this Agreement for a period of two years following the termination of this Agreement. ARTICLE 14 - SETTLEMENT OF DISPUTES Any dispute arising out of the interpretation, application or implementation of any provisions of this Agreement shall be settled consensually through consultation and negotiation between the Parties. ARTICLE 15 - ENTRY INTO FORCE 1. Each party shall notify the other Party in writing of the completion of its internal procedures required for the entry into force of this Agreement. This Agreement shall enter into force on the first day of the first month following the later notification. 2. This Agreement shall remain in force for a period of five years from the date of entry into force. 3. Subject to paragraph 4, this Agreement shall renew automatically at the end of five years from the date of entry into force and at the end of every subsequent five-year period. 4. A Party may give notice to the other Party in writing of its intention to terminate this Agreement. This notice shall be given no less than six months before the end of the fifth year following the entry into force, or before the end of any subsequent five-year period, in which case this Agreement shall terminate at the end of that five-year period.

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IN WITNESS WHEREOF, the undersigned, being duly authorized by their respective governments, have signed this Agreement. Done....................on the.............day of .......... 2014.... ........., in duplicate, in the English, French and Hindi languages, each version being equally authentic. For the Republic of India

For the Government of Canada

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

ANNEX This Annex is for administrative purposes and is not part of the Audiovisual Coproduction Agreement between the Government of the Republic of India and the Government of Canada (the “Agreement”). 1. DEFINITIONS Unless otherwise specified, the definitions of the Agreement apply. For the purposes of this Annex: “dubbing” means the production of any version in a language other than the original language or languages of the work.

4. LOCATION AND TECHNICAL SERVICES (a) Subject to paragraph (b), a work will be shot in the territory of either Party and may also be shot in the territory of a third-country producer. (b) The administrative authorities may, by mutual consent in writing, allow a work to be shot in the territory of a third country or a non-country for a storyline and/ or creative reasons. (c) All or part of the technical services of a work will be provided in the territory of either Party or in the territory of a third-country producer. 5. DUBBING (a) Subject to paragraph (b), all dubbing services will be performed in the territory of one of the Parties or of a third-country producer. (b) Where a producer can reasonably demonstrate that the necessary capacity does not exist in the territory of either Party or of a third-country producer, the administrative authorities may by mutual consent allow the dubbing to be performed elsewhere. 6. MODIFICATION The provisions of this Annex may be modified by mutual consent in writing of the competent authorities provided that these modifications do not conflict with the Agreement.

2. FINANCIAL CONTRIBUTION BY PRODUCERS (a) The financial contribution of the producers of each Party will be decided by arrangement between the producers, and will be between 20 per cent and 80 per cent of the total production budget of the work. (b) The third-country producer(s) involved in a multi-party work will contribute a minimum of 10 percent of the total production budget of that work. 3. CREATIVE AND TECHNICAL CONTRIBUTION BY PRODUCERS (a) The creative and technical contribution of the producers will be in reasonable proportion to their respective financial contribution, and in accordance with the requirements of the respective Parties. (b) The creative and technical contribution of each thirdcountry producer involved in the work will be in reasonable proportion to their respective financial contribution. (c) The Parties, through their administrative may by mutual consent in writing exemptions from paragraphs (a) and (b), storyline and creative purposes. authorities, recommend notably for

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CHINA

a. On behalf of Republic of India, the Ministry of Information and Broadcasting b. On behalf of Government of the People’s Republic of China, the State Administration of Press, Publication, Radio, Film and Television.

AUDIOVISUAL CO-PRODUCTION AGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE PEOPLE’S REPUBLIC OF CHINA.

c. Co-production projects falling within the scope of this Agreement shall be subject to the approval of the Competent Authority. d. Each co production undertaken under this Agreement shall be in accordance with the laws and regulations in force in the Contracting Parties. 1.4 “Co-producer” shall be: a. In relation to India: (i)

Citizens of India;

(ii) Entities which are established or incorporated in India b. In relation to China: (i)

Citizens and legal persons of China;

(ii) Persons who are not citizens of China but are permanent residents of China; (iii) Entities which are established or incorporated in China. 1.5 “Nationals” mean persons of either Contracting Party deriving the status as nationals of that Contracting Party from its laws and regulations in force. The MINISTRY OF INFORMATION AND BROADCASTING OF THE REPUBLIC OF INDIA and the STATE ADMINISTRATION OF PRESS, PUBLICATION, RADIO, FILM AND TELEVISION OF THE PEOPLE’S REPUBLIC OF CHINA hereinafter referred to as the “Contracting Parties”, CONSIDERING that it is desirable to establish a framework for the development of their audio visual co-productions; CONSCIOUS that quality co-productions can contribute to the further expansion of the audio visual production and distribution of both countries as well as to the development of their cultural and economic exchanges; CONVINCED that these exchanges will contribute to the enhancement of relations between the two countries in the audio visual field; HAVE AGREED AS FOLLOWS: ARTICLE 1 Definition For the purpose of this Agreement: 1.1 “Co- Production” refers to feature film, documentary, cine-film or animation film, irrespective of length, produced in any format, and distributed in theatres, on televisions, video cassettes or any other forms of projection. 1.2 “Co-production” is a production co-produced after joint investment by producers from India and China. 1.3 “Competent Authority” responsible for implementation of the Agreement shall be -

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ARTICLE 2 Recognition as a National Film and Entitlement to Benefits 2.1 A co-production film shall be fully entitled to all the benefits which are or may be accorded to national films by each of the Parties under their respective national laws and regulations. 2.2 These films shall be entitled to claim all state support and benefits available to the film and video industries and the privileges granted by the provisions in force in the respective countries ARTICLE 3 Contribution 3.1 Any benefits under this Agreement shall be available for audio visual coproduction only when investment or finance, material and management including creative and other inputs not below 20% comes from co-producer of one country; provided always that specific percentage contribution will be decided amongst producers themselves. 3.2 Notwithstanding anything stated in above paragraph, the competent authorities of both sides may at any time decide jointly in writing to make appropriate changes, in percentage, as may be deemed fit. ARTICLE 4 Participants 4.1 The producers, writers, directors, technicians, actors and other personnel involved in co-productions shall be citizens of either of the countries or permanent residents of either party.

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4.2 In the event of exceptional need of audio visual co-production, persons other than nationals or permanent residents as stated hereinabove are permissible to be engaged without losing the character of co-production in case advance written permission from both the countries’ authorities is obtained after explaining the reasons of inclusion of such person. ARTICLE 5 Filming and Production Outside the Contracting Countries 5.1 Live action shooting of a co-produced film, including animation works such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out alternately in India or in China. 5.2 Location shooting of a co-produced film, exterior or interior, in a country not participating in the co-production may, however, be authorized by the competent authorities of both countries if the script or the action so requires and if technicians from India and China take part in the shooting. 5.3 The processing and post-production of co-productions shall be done in either India or China, unless it is technically impossible to do so in either of the countries, in which case the processing and post-production in a country not participating in the co-production may be authorized by the competent authorities of both countries. ARTICLE 6 Film Languages 6.1 The original soundtrack of each audio visual co-production shall be made in Hindi, or any other Indian language or dialect, or in Chinese or English, or in any combination of those permitted languages. 6.2 Dialogue in other languages may be included in the audio visual co-production, as the script requires. 6.3 The dubbing or subtitling into one of the permitted languages of India or into the language of China shall be carried out in India, or in China; and that in English language be discussed and decided by the co-producers. ARTICLE 7 Film Negatives Two negatives, or at least one negative and one duplicate negative, shall be made of all co-produced films. Each co-producer shall be entitled to make a further duplicate or prints there from. Each co-producer shall also be entitled to use the original negative in accordance with the conditions agreed upon between the coproducers themselves. The storage of the original negative shall be as mutually decided by the co-producers. ARTICLE 8 Temporary Entry into the Country Both Contracting Parties in accordance with their domestic laws shall facilitate: (a) entry and short stay in either of the two countries for producers, writers, directors, technicians, actors and other personnel, (b) importing of equipment, props, film stocks and the like. 246

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ARTICLE 9 Property and Revenues 9.1 Both Contracting Parties jointly own the copyrights of each co-produced film and at the same time it is proportionate to the respective contributions for coproducers to share market revenues. 9.2 The sharing of revenues by the co-producers should, in principle, be proportional to their respective contributions and this should be negotiated and agreed, and specified in the agreement between the co-producers themselves. The respective contribution of each co-producer may be decided mutually on the basis of principles elaborated in Article 3. ARTICLE 10 Balanced Contribution 10.1 A general balance should be maintained with regard to both the artistic and technical personnel, including the cast. 10.2 The Joint Commission, established in terms of this Agreement, shall carry out a review to see whether this balance has been maintained and, if this is not the case, shall take measures which it considers necessary in order to reestablish such a balance. ARTICLE 11 Joint Commission 11.1 The Joint Commission shall comprise representatives from Governments of both countries and from the film industry of both Contracting Parties. 11.2 The role of the Joint Commission shall be to supervise and review the implementation and operation of this Agreement and to make any proposals considered necessary to improve the implementation of the Agreement. 11.3 The Joint Commission shall be convened at the request of either of the Contracting Parties within six months of such a request. ARTICLE 12 Minority and Majority Contribution in the Case of Multilateral Audio visual Co-productions Subject to the specific conditions and limits laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral co-productions, the minority contribution may not be less than 10% and the majority contribution may not exceed 70% of the total cost of the film. ARTICLE 13 Public Exhibition 13.1 Nothing in this Agreement binds the competent authorities of the Contracting Parties to permit the public exhibition of a film, which has been granted Approved Co-production status. 13.2 Both co-producers shall shoot the film in accordance with the approved script and submit it to respective competent authorities for examination afterwards. If there is no any essential difference between the completed film and the approved script, the film could be exhibited in India, China or a third country, in accordance with the current laws, rules, regulations and guidelines, governing the same in the respective countries. Cannes Film Market

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ARTICLE 14 Export to a Third Country

ARTICLE 19 Entry into Force, Duration and Termination of the Agreement

When a co-produced film is exported to a country, which has quota limitations: a) In principle, the co-produced film shall be included in the quota of the country of the majority investment;

19.1 This Agreement shall come into force when each Party has informed the other that its internal ratification procedures have been completed. This Agreement shall come into effect on the later date of these two notifications.

b) If both co-producers have made an equal contribution, co-producers of both sides shall decide the quota in question through friendly consultation, so that the co-produced film can be included in the quota of the country that can make better arrangements for the export of the film.

19.2 This Agreement shall be valid for a period of three years from the date of its entry into force; a tacit renewal of this Agreement for the periods shall take place unless one or the other Party gives written notice of termination six months before the expiry date.

c) If difficulties still exist, the co-produced film shall be included in the quota of the country of which the director is a national.

19.3 Co-productions which have been recognized by the competent authorities of the Contracting Parties and which are in progress at the time of notice of termination of this Agreement by either Contracting Party shall continue to benefit fully until completion from the provisions of this Agreement. After expiry or termination of this Agreement, its terms shall continue to apply to the division of revenues from completed co-productions.

ARTICLE 15 Credits 15.1 A co-produced film shall when shown, be identified as a “India-China Audio -visual Co-production” or “China-India Audio-visual Co-production” according to the origin of the majority co-producer or in accordance with an agreement between co-producers. 15.2 Such identification shall appear in the credits, in all commercial advertising and promotional materials and whenever this co-production is shown. ARTICLE 16 Entry in International Film Festivals 16.1 In the event of presentation at international film festival, unless the coproducers agree otherwise, a co-production shall be entered by the country of the majority co-producer or, in the event of equal financial participation of the co-producers, by the country of which the director is a national. 16.2 Either of the co-producers may make the co-produced film access to international film festivals by notifying the other co-producer in advance. ARTICLE 17 Settlement of Disputes

In witness whereof the undersigned, duly authorised by their respective Governments, have signed this Agreement. Done in at New Delhi on September 18 of 2014 in two originals each in Chinese, Hindi, and English language, three versions being equally authentic. In case of any divergence in interpretation, the English text shall prevail. For the Republic of India

For the State Administration of Press, Publication, Radio, Film and Television of The People’s Republic of China

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

Any dispute between the Contracting Parties arising out of the interpretation and implementation or application of this Agreement shall be settled consensually through consultation and negotiation and shall not be referred for resolution to any national or International tribunal or a third party. Article 18 Amendment This Agreement may be amended at any time by the mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through the diplomatic channel.

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Annex

Annex to Agreement On Audio Visual Co-production Between the State Administration of Press, Publication, Radio, Film and Television of the People’s Republic of China and the Ministry of Information and Broadcasting of the Republic of India (Rules of Procedure for Applications for Approval of Co-production Status Under This Agreement)

A clause stating that audio visual productions co-produced under this Agreement may be publicly exhibited in either country in accordance with prescribed rules/procedures;

A clause recognising that admission to benefits under this Agreement does not constitute a commitment that competent authorities in either country will grant a license to permit public exhibition of the audio visual co-production;

(This Annex is for administrative purposes and is not part of the Audio -visual Co Production Agreement between the the State Administration of Press, Publication, Radio, Film and Television of the People’s Republic of China and the Ministry of Information and Broadcasting of the Republic of India.) 1. Applications for qualification of a film for audio visual co-production benefits under this Agreement for any co-production must be made simultaneously to both competent authorities at least sixty days before shooting begins. 2. Co-Producers from both Contracting Parties shall submit the proposals to their competent authorities respectively for approval. Both competent authorities shall, in accordance with relevant guidelines of the respective country, communicate and negotiate with each other within thirty days of the submission of the complete documentation about the approval of Co-production status. 3. The following documents shall be submitted: 3.1 The final script and synopsis; 3.2 Documentary proof of having legally acquired the rights to produce and exploit the co-production and that the copyright for the audio-visual coproduction has been legally acquired; 3.3 A copy of the co-production contract signed by the two co-producers. a. The title of the audio-visual co-production; b. The name of the author of the script, or that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a film from the author/legal heirs may be attached;

(ii) the competent authorities prohibit the exhibition of the audio visual coproduction in either country or its export to a third country; (iii) either one or the other Party fails to fulfill its commitments; l) the period when shooting is to begin; m) a clause stipulating that the majority co-producer shall take out an insurance policy as mutually decided by the co-producers; and n) a clause providing for the joint ownership of copyright for co-producers and at the same time it is proportionate to the respective contributions for coproducers to share market revenues. 3.4 The distribution contract, where it has already been signed; 3.5 A list of the creative and technical personnel indicating their nationalities and, in the case of performers, the roles they are to play; 3.7 The detailed budget identifying the expenses to be incurred by each coproducer in each country; and 3.8 All contracts and other relevant financial documentation for all participants in the financial structure. 4. The competent authorities can demand any further documents and all other additional information deemed necessary, as to consider the co-production application.

c. The name of the director; d. The budget; e. The financing plan; A clause establishing the sharing of revenues and markets;

g. A clause detailing the respective shares of the co-producers in any over or under expenditure, which shares shall in principle be proportional to their respective contributions; h. A clause stating that the competent authorities have to be informed if the percentage of the contribution of a co-producer changes subsequent to the approval of the competent authorities; in any case, the contribution may not be less than the minimum contribution agreed in Article 3;

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(i) after full consideration of the case, the competent authorities in either country refuse to grant the benefits applied for;

3.6 The production schedule;

The contract shall include:

k) A clause prescribing the measures to be taken where:

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5. In principle, the final shooting script (including the dialogue) should be submitted together with all other necessary documents to the competent authorities prior to the commencement of shooting for final approval. 6. Amendments, including the replacement of a co-producer, may be made in the original contract, but they must be submitted for approval by the competent authorities before the audio visual co-production is finished. The replacement of a co-producer may be allowed only in exceptional cases and for reasons satisfactory to both the competent authorities. 7. The competent authorities will keep each other informed of their respective decisions.

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FRANCE AGREEMENT ON FILM Co-Production BETWEEN THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE GOVERNMENT OF THE FRENCH REPUBLIC.

The Government of the Republic of India and the Government of the French Republic (hereinafter referred to as ‘the Parties’), CONSIDERING the Convention on the Protection and Promotion of the Diversity of Cultural Expressions and its ratification by India on 15th December, 2006 and by France on 18th December, 2006, DESIRING to strengthen the relationship between India and France concerning film production, HAVE AGREED AS FOLLOWS: ARTICLE 1 For the purpose of this Agreement: a. ‘Film’ means feature length film including animation and documentary film which complies with the laws and rules in force in each country and which is intended to be first shown in cinema theatres. Both the Parties would under this Agreement also encourage the development of Co-Production projects for short films for which there is an expectation for public exhibition, with or without access to Public support; b. “Competent Authority” means: For India, the Ministry for Information and Broadcasting; For France, the Centre national du cinema et de l’image animée (CNC). The Parties shall inform each other if the competent authorities are replaced by others.

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Article 2 1. Subject to the approval of both competent authorities, a film Co-produced in compliance with this Agreement shall be deemed to be a national film in the territory of each Party and shall thus be fully entitled to all the benefits which are granted under the laws and regulations in force in the territory of each Party. 2. The competent authority of each Party shall provide to the competent authority of the other Party a list of provisions concerning these benefits. If the provisions concerning these benefits are changed in any way by either Party, the competent authority of that Party shall inform the competent authority of the other Party of the details of such change. 3. The above mentioned benefits shall accrue solely to the producer of the Party which grants them. 4. In order to be approved as a Co-Production under this Agreement, the film must: - in France, apply for Co-Production clearance before the shooting starts, and receive final approval from the competent authority no later than 4 (four) months after its release in France; - in India, apply for Co-Production clearance before the shooting starts, and receive final approval from the competent authority no later than 4 (four) months after its completion in India. The application for such approval shall comply with the procedures set forth by each Party and satisfy the minimum requirements set forth in Annexure to this Agreement. The competent authorities of the Parties shall exchange all information concerning the approval, rejection, change or withdrawal of any application received for approval for Co-Production. Before an application for approval is rejected, the competent authorities of the Parties shall consult with each other. Once the competent authorities of the Parties have approved the Co-Production of a film, such approval may not be later revoked without the consent of competent authorities of the Parties. The approval of Co-Production by the competent authorities of the Parties shall not be related in any way to the film rating systems of either Party. Article 3 1. In order to qualify for the approval for Co-Production, the producer shall have the necessary capabilities to produce the concerned film. The Parties are not responsible or liable for the credentials of either of the Co-producers.

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2. Each of the producers must satisfy the following additional conditions: a. The president(s), director(s) or manager(s), must be citizen of India, France or the European Union. Persons who do not have the citizenship of the aforesaid countries but can demonstrate their domicile or permanent residence therein will be deemed to be citizens of India or France within the meaning of this subparagraph. b. The producer must not be controlled legally or effectively by one or more citizens of any country other than India, France or the EU countries. 3. Artistic and technical participants in the production of the film shall be citizens of India, France or the EU countries. Participants who do not have the citizenship of the aforesaid countries but can demonstrate their domicile or permanent residence therein will be deemed to be citizens of India or France within the meaning of this subparagraph. Actors who do not have the aforesaid citizenship may participate in a CoProduction in the event that the competent authorities of the Parties so approve, after consideration of the production needs of the film. Article 4 Studio filming, location shooting (exterior or interior) and laboratory work shall in principle be carried out in the territory of either Party. Outdoor shooting in third countries may be permitted, subject to the consent of the competent authorities of the Parties, provided that it is necessary for the scenario or the acting. Article 5 1. The proportion of the respective financial contributions of the Coproducers of each party to the production of the film shall be decided by arrangement between the Co-producers, and shall be between 20% (twenty percent) to 80%(eighty percent) of the final production costs of the film. Notwithstanding the above, in exceptional circumstances and subject to the approval of the competent authorities of both Parties, the 20% threshold may be reduced to 10% taking into account the artistic and technical collaborations of the Co-producer(s) of each party. 2. In principle, the technical and artistic contribution of the Co-producer of each Party shall be in the same proportion as its financial contribution under normal circumstances. However, in exceptional cases where the approval of the competent authorities of both parties has been obtained, these percentages shall be between 10% and 90 %. Article 6 1. All producers shall be the joint owners of all the tangible and intangible elements of the film. 2. All materials shall be stored at a mutually approved laboratory under the joint name of the producers. 254

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Article 7 For Co-Productions approved under this Agreement, each Party shall facilitate, in accordance with the domestic law in force in its territory: a. the entry and temporary residence in its territory for the technical and artistic personnel of the other Party who participate in the production of the film; b. the import into, and export out of its territory of technical equipment and other material necessary to the coproduction (including film, technical equipment, costumes, accessories, publicity material) by the Co-producer of the other Party. Article 8 1. Credit titles, trailers and all publicity material of the film Co-Productions shall state that the film is a Co-Production between India and France. a. For the purpose of entry into different film festivals, the Co-producers shall decide mutually. b. The fact that a film is a Co-Production shall also be mentioned when it is submitted to a film festival. Article 9 The sharing of revenues by the Co-producers should, in principle, be in proportion to their respective contributions and this should be specified in the agreement itself. The respective contribution of each Co-producer may be decided mutually on the basis of principles elaborated in Article 5. Article 10 1. The competent authorities of both the Parties acknowledge that a film Coproduced in compliance with this Agreement may also be approved for CoProduction with the producers of a third country with which either Party has entered into a film Co-Production treaty. 2. The conditions of approval of such film as a Co-Production shall be determined in each individual case by competent authorities. Article 11 1. A joint commission (hereinafter referred to as the ‘Joint Commission’) consisting of representatives of the competent authorities of both Parties and experts in related fields shall be established for the purpose of facilitating the implementation of this Agreement or recommending amendments thereto. 2. During the effective period of this Agreement, the Joint Commission shall be convened in principle every 2-3 years, alternately in India and France. Extraordinary sessions of the Joint Commission may also be convened at the request of either Party in the event of changes in the laws and regulations applicable to the film industry or major obstacles (in particular, imbalance in contribution) to the functioning of this Agreement. 3. During its meeting sessions, the Joint Commission shall review whether an Cannes Film Market

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overall balance has been achieved in the contributions from the two Parties and shall implement the necessary measures in order to correct any imbalance. 4. If an imbalance in contributions has occurred and a session of the Joint Commission is not convened expeditiously in order to review the measures to restore balance, both competent authorities shall abide by the principle of reciprocity for each film in approving Co-Productions. Article 12 This Agreement may be amended by the mutual consent of the Parties through the exchange of notes between the Parties through the diplomatic channel. Article 13 Any dispute between the Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation and shall not be referred for resolution to any national or international tribunal or a third party. Article 14 1. This Agreement shall come into force after each Party has informed the other Party through official diplomatic channels that its internal ratification procedures have been completed. 2. This Agreement shall remain in force initially for a period of 2 (two) years from the date of its entry into force, and then shall be automatically renewed for successive periods of 2 years, unless written notice is otherwise given by either Party to the other Party at least 3 (three) months before the expiry of the relevant period.

Annexure to the Co-Production Agreement Application Process In order to implement the provisions of this Agreement, the producers established in both countries must, before shooting commences, submit an application for coproduction status and attach the documents listed below: -- a copy of the documentation concerning the purchase of the copyright for the commercial exploitation of the work ; -- a synopsis including concrete information on the theme and contents of the film ; -- a list of the technical and artistic contributions from each of the countries involved ; -- a work plan stating the periods and locations of principal photography on a weekly basis for studio and outdoor shooting ; -- a budget including a detailed financing plan ; -- a production schedule -- the coproduction contract made between the producers ; -- and all the documentation that the competent authorities require to conduct the technical and financial evaluation of the project. The competent authority of the party with smaller contribution shall decide on approval after it has received the opinion of the competent authority of the party with greater financial contribution.

3. Unless both Parties decide otherwise, the termination of this Agreement shall not affect the rights and duties of the Parties in relation to film Co-Productions already approved in accordance with this Agreement. In witness whereof, the undersigned being duly authorized thereto, have signed this Agreement. Done at ____________, on this day of _____________, in two originals each in English, French and Hindi, all versions being equally valid. For the Republic of India

For the Government of FRENCH Republic

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

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GERMANY

ARTICLE 2

AGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE GOVERNMENT OF THE FEDERAL REPUBLIC OF GERMANY ON AUDIO VISUAL Co-Production.

Competent authorities 1. The competent authorities responsible for the implementation of this Agreement shall be: a. On behalf of the Republic of India , the Ministry of Information and; b. Broadcasting on behalf of the Federal Republic of Germany, the Federal Office of Economics and Export Control (BAFA). c. Co-Productions falling within the scope of this Agreement shall be subject to the approval of the competent authorities. 2. The Contracting Parties shall inform each other if the competent authorities are replaced by others. ARTICLE 3 Approval as national films 1. Films, which are produced within the framework of this Agreement, shall be deemed national films. 2. These films shall be entitled to claim all state support benefits available to the film and video industries and the privileges granted by the provisions in force in the respective countries.

The Government of the Republic of India and the Federal Republic of Germany (hereinafter jointly referred to as the “Contracting Parties”); Considering that audio-visual Co-Productions can significantly contribute to the development of the film industry and to an intensification of the cultural and economic exchange between the two countries; Resolved to stimulate cultural and economic co-operation between the Republic of India and the Federal Republic of Germany; Desiring to create conditions for good relations in the audio-visual area, particularly for the Co-Production of films and TV and video productions; Mindful of the fact that the quality of Co-Productions can help to expand the production of TV and video productions of both countries; Have agreed as follows ARTICLE 1 Definition of “audio-visual Co-Production” For the purpose of this Agreement, an “audiovisual Co-Production” is a project irrespective of length, including animation and documentary productions, produced in any format, for exploitation in theatres, on television, videocassette, videodisc, CD-ROM, DVD or by any other form of distribution. New forms of audiovisual production will be included in this Agreement, through the exchange of notes between the Contracting Parties.

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3. ARTICLE 4 Conditions for obtaining approval of Co-Production status 1. Any benefits under this Agreement shall be available for the Co-Production only when investment of finance, material and management including creative and other inputs is not below 20 % (twenty percent) of the total cost coming from the Co-producer of one country. 2. The Co-producers of a film shall have their principal office or a branch office in the territory of one of the Contracting Parties. None of the Co-producers shall be linked by common management, ownership or control. 3. Technical and artistic personnel are those persons who, in accordance with the domestic law in force in their own country, are recognized as makers of audiovisual productions, in particular screenwriters, directors, composers, editors, directors of photography, art directors, actors and sound technicians. The contribution of each of these persons shall be evaluated individually. 4. As a rule, the contribution includes at least one leading actor, one supporting actor and/or one qualified technical staff person, in addition to the one person as referred to in paragraph (3) provided that two qualified technical staff persons may substitute for one leading actor. 5. The Co-producers in either of the two countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, financial backing and professional reputation. The Contracting Parties are not responsible or liable for the credentials of either of the Co-producers. Cannes Film Market

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6. The company carrying out the Co-Production shall provide evidence that the primary business of that company is audiovisual (film, television and video) production. ARTICLE 5 Participants 1. The persons participating in the production of a film shall fulfill the following requirements: Nationals/Citizens of the Republic of India or

(i)

Permanent residents of India

b. As regards the Federal Republic of Germany, they shall be (i)

Germans within the meaning of the Basic Law

(ii) Persons who are rooted in the German culture and have their legal residence in the territory of the Federal Republic of Germany; (iii) Nationals of a member state of the European Union; or (iv) Nationals of another party to the Agreement on the European Economic Area (EEA) of 2 May 1992. 2. Participants in the Co-Production as defined in sub paragraphs (a) and (b) must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity. 3. Should the film so require, the participation of professionals who are not citizens of one of the Co-producing countries may be permitted, but only in exceptional circumstances, and subject to agreement between the competent authorities of both Contracting Parties. ARTICLE 6 Film Negatives and Languages 1. Two negatives, or at least one negative and one duplicate negative, shall be made of all Co-produced films. Each Co-producer shall be entitled to make a further duplicate or prints there from. Each Co-producer shall also be entitled to use the original negative in accordance with the conditions agreed upon between the Co-producers themselves. 2. The original soundtrack of each Co-Production film shall be made in Hindi or any other Indian language or dialect or, in English or German or in any combination of those permitted languages. Dialogue in other languages may be included in the Co-Production, as the script requires.

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ARTICLE 7 Entry in International Festivals 1. The majority Co-producer shall normally enter Co-produced films in international festivals.

a. As regards the Republic of India , they shall be – (i)

3. The dubbing or subtitling into one of the permitted languages of the Republic of India or into German shall be carried out in the Republic of India , or in the Federal Republic of Germany or in another Member State of the European Union or in another Contracting State of the Agreement on the European Economic Area respectively. Any departure from this principle must be approved by the competent authorities.

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2. Films produced on the basis of equal contributions shall be entered as a film of the country of which the director is a national, provided that the director is not from a country contemplated in Article 5(1) (a) (iv), in which case the film shall be submitted as a film of the country of which the lead actor is a national, subject to the agreement of the competent authorities of both Contracting Parties. ARTICLE 8 Minority and majority contribution in the case of multilateral Co-Productions Subject to the specific conditions and limits laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral Co-Productions, the minority contribution may not be less than 10% (ten per cent) and the majority contribution may not exceed 70% (seventy per cent) of the total cost of the film. ARTICLE 9 Contributions of the producers 1. Notwithstanding the provisions of this Agreement and in the interest of bilateral Co-Productions, even those films, which are produced in one of the two countries and where the minority contribution is limited to financial investment, may be granted Co-Production status according to the CoProduction agreement. In such a case, the minority contribution may not be less than 20% (twenty per cent) of the final total cost of the film. 1. The granting of Co-Production status to each individual production of this kind shall be subject to the prior approval by the competent authorities. 2. The expenses incurred in the territories of the Contracting Parties for the promotion of such Co-Productions shall be compensated within two years of the completion of the project.

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ARTICLE 10

Party.

Balanced contribution 1. A general balance should be maintained with regard to both the artistic and technical personnel, including the cast, and with regard to the financial investment and facilities (studios, laboratories, and postproduction). 2. The Joint Commission, established in terms of article 12, shall carry out a review to see whether this balance has been maintained and, if this is not the case, shall take measures, which it considers necessary in order to reestablish such a balance. ARTICLE 11 Credits A Co-Production film and the promotional materials associated with it shall include either a credit title indicating that the film is “an official German-Indian Co-Production” or “an official Indian German Co-Production” or where relevant a credit which reflects the participation of the Federal Republic of Germany, Republic of India and the country of the third co producer. ARTICLE 12 Joint Commission 1. The Joint Commission shall be composed of representatives from Government and from the film, television and video industries of both Contracting Parties.

Amendment This Agreement may be amended by the mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through the diplomatic channel. ARTICLE 15 Settlement of Disputes Any dispute between the Contracting Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation. ARTICLE 16 Entry into Force, Duration and Termination 1. This Agreement shall enter into force on the date of signature. 2. This Agreement including the annex, which forms an integral part of this agreement, shall remain in force for an unlimited period of time, unless terminated in terms of paragraph. 3. Either Contracting Party may terminate this Agreement by giving six months’ written notice in advance of such intention to the other Contracting Party through the diplomatic channel.

2. The role of the Joint Commission shall be to supervise and review the implementation and operation of this Agreement and to make any proposals considered necessary to improve the implementation of the Agreement. 3. The Joint Commission shall be convened, whether by meeting or otherwise, at the request of either of the Contracting Parties within six months of such a request.

ARTICLE 13 Temporary Entry into the country For approved Co-Productions, each Contracting Party shall facilitate, in accordance with the domestic law in force in its country: a. Entry into and temporary residence in its territory for technical and artistic personnel of the other Contracting Party; b. The import into and export from its territory of technical and other filmmaking equipment and materials by producers of the other Contracting

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4. Termination of this Agreement shall have no effect on the completion of CoProductions approved prior to its termination. Done at Berlinon this day of 16th of February 2007 in two originals each in English, German and Hindi, all three versions being authentic. In case of any divergence of interpretation, the English text shall prevail. (Rules Of Procedure for applications for approval of Co-Production status under this agreement) 1. Applications for qualification of a film for Co-Production benefits under this Agreement for any Co-Production must be made simultaneously to both competent authorities at least thirty (30) days before shooting begins. 2. The competent authority of both Parties shall communicate their proposal to the other competent authority within twenty (20) days of the submission of the complete documentation as described in paragraph 3 below. 3. Documentation submitted in support of an application shall consist of the following items, drafted in German in the case of Germany and in English in the case of India : 3.1 The final script and synopsis; Co-Productions under this Agreement shall be shot in Germany or India, as the case may be, in accordance with the guidelines of the respective country; The Parties shall inform each other

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from time to time of relevant guidelines and any changes thereto. 3.2 documentary proof of having legally acquired the rights to produce and exploit the Co-Production and that the copyright for the Co-Production has been legally acquired; 3.3 a copy of the Co-Production contract signed by the two Co-producers. The contract shall include a. The title of the Co-Production; b. The name of the author of the script, or that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a film from the author/legal heirs may be attached; c. The name of the director (a substitution clause is permitted to provide for his/her replacement if necessary); d. The budget; e. The financing plan; f.

A clause establishing the sharing of revenues, markets, media or a combination of these;

g. A clause detailing the respective shares of the Co-producers in any over or under expenditure, which shares shall in principle be proportional to their respective contributions, although the minority Co-producer’s share in any over expenditure may be limited to a lower percentage or to a fixed amount providing that the minimum proportion permitted under Article 9 of the Agreement is respected; h. A clause stating that the competent authorities have to be informed if the percentage of the contribution of a co- producer changes subsequent to the approval of the competent authorities; in any case, the contribution may not be less than the minimum contribution agreed in i.

A clause stating that films Co-produced under this Agreement may be publicly exhibited in either country in accordance with prescribed rules/ procedures;

A clause recognizing that admission to benefits under this Agreement does not constitute a commitment that governmental authorities in either country will grant a license to permit public exhibition of the Co-Production;

country refuse to grant the benefits applied for; m. The competent authorities prohibit the exhibition of the Co-Production in either country or its export to a third country; n. Either one or the other Party fails to fulfill its commitments; o. The period when shooting is to begin; p. A clause stipulating that the majority Co-producer shall take out an insurance policy covering at least “all production risks” and “all original material production risks”; and q. A clause providing for the sharing of the ownership of copyright on a basis that it is proportionate to the respective contributions of the Co-producers. 3.4 the distribution contract, where it has already been signed, or a draft if it has yet to be concluded; 3.5 a list of the creative and technical personnel indicating their nationalities and, in the case of performers, the roles they are to play; 3.6 the production schedule; 3.7 the detailed budget identifying the expenses to be incurred by each country; and 3.8 all contracts and other relevant financial documentation for all participants in the financial structure. 4. The competent authorities can demand any further documents and all other additional information deemed necessary. 5. In principle, the final shooting script (including the dialogue) should be submitted to the competent authorities prior to the commencement of shooting. 6. Amendments, including the replacement of a Co-producer, may be made in the original contract, but they must be submitted for approval by the competent authorities before the Co-Production is finished. The replacement of a Coproducer may be allowed only in exceptional cases and for reasons satisfactory to both the competent authorities. 7. The competent authorities will keep each other informed of their respective decisions.

k. A clause prescribing the measures to be taken where: l.

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After full consideration of the case, the competent authorities in either

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ISRAEL

a. On behalf of the Republic of India , the Ministry of Information and; b. Broadcasting on behalf of the Federal Republic of Germany, the Federal Office of Economics and Export Control (BAFA).

Agreement On Film Co-Production Between The Government of State of Israel And The Government Of The Republic Of India

c. Co-Productions falling within the scope of this Agreement shall be subject to the approval of the competent authorities. 2. The Contracting Parties shall inform each other if the competent authorities are replaced by others. ARTICLE 3 Approval as national films 1. Films, which are produced within the framework of this Agreement, shall be deemed national films. 2. These films shall be entitled to claim all state support benefits available to the film and video industries and the privileges granted by the provisions in force in the respective countries. 3. ARTICLE 4

Conditions for obtaining approval of Co-Production status 1. Any benefits under this Agreement shall be available for the Co-Production only when investment of finance, material and management including creative and other inputs is not below 20 % (twenty percent) of the total cost coming from the Co-producer of one country. 2. The Co-producers of a film shall have their principal office or a branch office in the territory of one of the Contracting Parties. None of the Co-producers shall be linked by common management, ownership or control. 3. Technical and artistic personnel are those persons who, in accordance with the domestic law in force in their own country, are recognized as makers of audiovisual productions, in particular screenwriters, directors, composers, editors, directors of photography, art directors, actors and sound technicians. The contribution of each of these persons shall be evaluated individually. 4. As a rule, the contribution includes at least one leading actor, one supporting actor and/or one qualified technical staff person, in addition to the one person as referred to in paragraph (3) provided that two qualified technical staff persons may substitute for one leading actor.

ARTICLE 2

5. The Co-producers in either of the two countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, financial backing and professional reputation. The Contracting Parties are not responsible or liable for the credentials of either of the Coproducers.

Competent authorities 1. The competent authorities responsible for the implementation of this Agreement shall be:

6. The company carrying out the Co-Production shall provide evidence that the primary business of that company is audiovisual (film, television and video) production.

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ARTICLE 5

ARTICLE 7

Participants 1. The persons participating in the production of a film shall fulfill the following requirements:

Entry in International Festivals 1. The majority Co-producer shall normally enter Co-produced films in international festivals. 2. Films produced on the basis of equal contributions shall be entered as a film of the country of which the director is a national, provided that the director is not from a country contemplated in Article 5(1) (a) (iv), in which case the film shall be submitted as a film of the country of which the lead actor is a national, subject to the agreement of the competent authorities of both Contracting Parties.

a. As regards the Republic of India , they shall be – (i)

Nationals/Citizens of the Republic of India or

(i)

Permanent residents of India

b. As regards the Federal Republic of Germany, they shall be (i)

Germans within the meaning of the Basic Law

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ARTICLE 8 Minority and majority contribution in the case of multilateral Co-Productions Subject to the specific conditions and limits laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral Co-Productions, the minority contribution may not be less than 10% (ten per cent) and the majority contribution may not exceed 70% (seventy per cent) of the total cost of the film. ARTICLE 9 Contributions of the producers 1. Notwithstanding the provisions of this Agreement and in the interest of bilateral Co-Productions, even those films, which are produced in one of the two countries and where the minority contribution is limited to financial investment, may be granted Co-Production status according to the CoProduction agreement. In such a case, the minority contribution may not be less than 20% (twenty per cent) of the final total cost of the film. 1. The granting of Co-Production status to each individual production of this kind shall be subject to the prior approval by the competent authorities. 2. The expenses incurred in the territories of the Contracting Parties for the promotion of such Co-Productions shall be compensated within two years of the completion of the project. ARTICLE 10 Balanced contribution 1. A general balance should be maintained with regard to both the artistic and technical personnel, including the cast, and with regard to the financial investment and facilities (studios, laboratories, and postproduction). 2. The Joint Commission, established in terms of article 12, shall carry out a review to see whether this balance has been maintained and, if this is not the case, shall take measures, which it considers necessary in order to reestablish such a balance.

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ARTICLE 11

consultation and negotiation.

Credits A Co-Production film and the promotional materials associated with it shall include either a credit title indicating that the film is “an official German-Indian Co-Production” or “an official Indian German Co-Production” or where relevant a credit which reflects the participation of the Federal Republic of Germany, Republic of India and the country of the third co producer.

Article 16

ARTICLE 12 Joint Commission 1. The Joint Commission shall be composed of representatives from Government and from the film, television and video industries of both Contracting Parties. 2. The role of the Joint Commission shall be to supervise and review the implementation and operation of this Agreement and to make any proposals considered necessary to improve the implementation of the Agreement. 3. The Joint Commission shall be convened, whether by meeting or otherwise, at the request of either of the Contracting Parties within six months of such a request.

Entry Into Force, Duration And Termination of The Agreement 1. This Agreement shall enter into force on the date of the second of the Diplomatic Notes by which the Parties notify each other that their internal legal procedures of its entry into force have been complied with. 2. This Agreement shall be valid for a period of five 5. years and shall automatically be extended for additional periods of five 5. years each, unless terminated by either Party by giving at least six 6. months written prior notice to the other Party of its intention to terminate the Agreement. 3. Termination of the present Agreement shall not affect the implementation of the projects, which are already in progress under the present Agreement and shall be continued in accordance with the terms and conditions of the Agreement. 4. The Annex of this Agreement shall be an integral part of this Agreement. 5. IN WITNESS WHEREOF, the undersigned being duly authorized thereto, by their respective Governments, have signed this Agreement. Signed in _________ on ______________, 2018 which corresponds to the ___________ of ______________, 5778, in two original copies in the Hebrew, Hindi and English languages, all texts being equally authentic. In case of divergence in interpretation, the English text shall prevail. For the Republic of India

For the Government of the State of Israel

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

ARTICLE 14 Amendment This Agreement may be amended by the mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through the diplomatic channel. ARTICLE 15 Settlement of Disputes Any dispute between the Contracting Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through

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ANNEX Rules of Procedure 1. Applications for qualification of a film for co-production benefits must be filed concurrently with the Competent Authorities at last sixty (60) days prior to the commencement of shooting or key animation of the film. 2. The Competent Authorities shall notify each other of their decision regarding any such application for co-operation within thirty (30) days from the dated of submitting the complete documentation listed in the Annex to this Agreement 3. Applications must be accompanied by the following documents in Hebrew or English languages for the State of Israel and in the English language for the Republic of India – (i)

Final version of the script.

(ii) Evidence of the lawful acquisition of the copyright necessary to a given co-production as a proof of license arrangements with respect to intellectual property rights, of any sort, including in particular copyright and neighboring rights (“neighboring rights” shall be understood as including, inter alia, moral rights, performers’ rights, phonogram producers’ rights and broadcasters’ rights), embodied in, or arising from, a co-production, to an extent sufficient for purpose of fulfilling the objectives of the co-production contract, including clearance arrangements for public performance, distribution, broadcast, making available by internet or otherwise, and sale or rental of physical or electronic copies of the co-production in the territories of the Parties’ home countries as well as in third countries, and including copyright and neighboring rights clearance with respect to any literary, dramatic, musical or artistic work which has been adapted by the applicant for purposes of the co-production; 4. A signed copy of a co-production contract concluded between co-producers, which should contain – a. The title of the co-production , even if provisional; b. The name of the writer or the person responsible for adapting the subject if it is drawn from literary source; c. The name of the director (a safety clause is permitted for this replacement, if necessary, which is subject to the approval of the Competent Authorities); d. A synopsis of the film; e. The budget of the film; f.

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The plan for financing the film, stating the financial input of the coproducers;

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g. The financial undertaking of each producer in respect of the percentage apportionment of expenditures with regard to development, elaboration, production and post-production costs up to the creation of the answer print. h. A clause defining distribution of revenue and profits including the sharing or pooling of markets; i.

A clause describing participation of the co-producers in any costs which exceed the budget or in the benefits from any savings in the production cost;

A clause for allocation of intellectual property rights in a co-production film, including ownership and licensing thereof.

k. A clause in the contract must recognize that the approval of the film, entitling it to benefits under the agreement, does not obligate the Competent Authorities of either Party to permit the public screening of the film, Likewise, the contract must set out the conditions of a financial settlement between the co-producers in the event that the Competent Authorities of either Party refuse to permit the public screening of the film in either country or in third countries. l.

Breach of the co-production contract;

m. A clause which requires the major co-producer to take out an insurance policy covering “ all production risks” and “all production risks connected with original materials”; n. The date for commencement of shooting; o. The list of required equipment (technical, artistic or other) and personnel, including nationality of personnel and the roles to be played by the performers; p. The production schedule; q. A distribution agreement, if one has been concluded; r.

The manner in which the co-production shall be entered in international festivals;

s. Other provisions required by the Competent Authorities Important Provisions For Indian Party In addition, an application addressed to the Indian Ministry of Information and Broadcasting(MIB), should be accompanied by four copies of the screenplay and film synopsis together with a processing fee of US$ 225 payable to Pay & Accounts Officer, Ministry of Information & Broadcasting or for the amount as may be revised from time to time. If the film is to be shot wholly or partly in the Republic of India, the co-producers must provide the Indian Embassy in the State of Israel and Ministry of Information & Broadcasting with the following information –

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1. Details of any non-Indian members of the film crew; names, passport numbers and expiry dates, country which issued the passport, nationality, permanent and temporary address. 2. An accurate description of the shooting locations and the film crew’s travel plans. 3. A description of the cinematographic equipment and quantity of filming equipment to be brought in to the Republic of India temporarily. Within three weeks of receipt of the required set of documents, the Ministry of Information & Broadcasting will sent the appropriate filming permit to all co-producers and the Competent Authorities in the other State. A longer period for issuing the filming permit may be required if filming is to take place in some restricted areas. Permission to film in the Republic of India may be dependent upon the following conditions – 1. Permission from a person or his legal heir who is to be portrayed in the film; a copy of the permission should be attached to the screenplay,

Concluding Provisions The Competent Authorities may ask for any additional documents or information which they consider essential in order to consider an application for a co-production The final screenplay (with script) should be presented to the Competent Authorities prior to the start of filming. Amendment, including a change of co-producer, may be made to the original co-production contract. However, any amendments must be submitted to the Competent Authorities for approval before the co-production is completed. A change of co-producer is permissible only in exceptional circumstances, and for reasons considered by the Competent Authorities to be satisfactory. The Competent Authorities shall inform each other of the decisions they have reached. The participation of a producer from a third country in the co-production is subject to the prior approval of the Competent Authorities.

2. If it is necessary to obtain assistance from the Ministry of Defence, Ministry of Culture, etc, separate agreements may have to be concluded with these Ministries, Requests for such assistance may be submitted via the Ministry of Information & Broadcasting, 3. Each film for whose production the assistance of the Armed Forces has been obtained must be presented to the Ministry of Defence in order to obtain permission for its distribution 4. In particular cases, a film may have to be presented to a representative of the Government of the Republic of India or to the Indian Embassy in the State of Israel before it can be shown anywhere in the world . Also in particular cases, a liaison officer may be assigned to a film crew-at the expense of the Government of the Republic of India.

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ITALY

a. In Italy- by the Ministry of Cultural Properties and Activities, Department of Entertainment and Sport, General Management of Cinema; and b. In India by the Ministry of Information and Broadcasting. (iii) Co production produced under the terms of this Agreement shall be taken in either of the two countries as National Production with every benefit available as National Production but will abide by applicable national law for distribution and production. These benefits, however, accrue to the producer from the country, which grants them.

AUDIO VISUAL Co-Production AGREEMENT BETWEEN THE REPUBLIC OF INDIA AND THE GOVERNMENT OF THE ITALIAN REPUBLIC.

ARTICLE 2 (i) The co- producers in either of the two countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, financial backing and professional reputation. (ii) The Government of India and Italy shall in no way be responsible or liable with regard to satisfaction of either of the co producers.

The Government of the Republic of india and the Government of Italian Republic, hereinafter referred to as the parties, CONSIDERING that it is desirable to establish a framework for the development of their audiovisual relations and particularly for film television and video CoProductions; CONSCIOUS that quality Co-Productions can contribute to the further expansion of the film, television and video production and distribution industries of both countries as well as to the development of their cultural and economic exchanges; CONVINCED that these exchanges will contribute to the enhancement of relations between the two countries; Have agreed as follows: ARTICLE 1 In this Agreement, unless the Agreement otherwise requires: (i) A Co-Production is a film including feature films, documentaries, science films, animation films and commercials, irrespective of length, either on film, videotape or videodisc, which can be shown in cinemas, on television or on video recorders jointly’ invested in and produced by producers from the two countries and made in accordance with the terms of recognition given by the competent authorities of India and Italy under this Agreement. New forms of audio-visual production and distribution shall be included in the present Agreement by exchange of notes between the Parties. (ii) Co-Production projects undertaken under the present Agreement must be recognized by the following authorities, referred to hereinafter as the competent authorities: 276

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ARTICLE 3 (i) Any benefits under this Agreement shall be available for co production only when investment of finance, material and management including creative and other inputs not below 20% of the total cost comes from Co-producer of one country provided always that specific percentage contribution will be decided amongst producers themselves. (ii) Notwithstanding anything stated in above paragraph, the two parties may at any time decide jointly in writing to make appropriate changes, in percentage, as maybe deemed fit. ARTICLE 4 (i)

The producers of a Co-Production shall be citizens or permanent resident either of Italy or India subject to any sort of compliance of the obligations created by European Union Italy as a member.

(ii) In the event of dire need of Co-Production, persons other than citizen or permanent resident as stated hereinabove are permissible to be engaged without losing the character of Co-Production in case advance written permission from both the countries is obtained after explaining the reasons of inclusion of such person. ARTICLE 5 (i)

Live action shooting and animation works such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out alternatively in Italy or in India.

(ii) Location shooting, exterior or interior, in a country not participating in the Co-Production however, is acceptable at discretion if the script or the action so requires and if technicians from Italy and India take part

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CO-PRODUCTION AGREEMENTS elaborated in Article 3.

in the shooting. (iii) The laboratory work shall be done in either Italy or India, unless it is technically impossible to do so, in which case the laboratory work in a country not participating in the Co-Production can be permitted by the competent authorities of both countries.

ARTICLE 10 (i)

ARTICLE 6 (i)

The Co-Production shall have the original soundtracks in English or Italian or in other Indian language or dialect, which can further be dubbed in any of these languages.

(ii) In the event, if script so desires, any other language can be used for stray dialogues with permission from authorities (iii) It will be necessary that the dubbing or sub-titling of the Co-Production will be done or performed either in India or Italy. Dubbing or sub-titling in Indian languages should be performed in India and dubbing or subtitling in Italian in Italy and dubbing or sub-titling in English could be performed in Italy or India depending upon the agreement between Co-producers.

(ii) Failure to meet this requirement shall entail the loss of benefit of the Co-Production. This requirement will invariably be reflected in the contract drawn up between the Co-producers to enable projects to be recognized under this Agreement. ARTICLE 11 (i)

ARTICLE 7 (i)

A Co-produced film shall have two negatives or one negative and one dupe negative, or as agreed between the two Co-producers, with two international sound tracks for making copies. Each Co-producer shall own one good quality print, one dupe positive and one international sound track and have the right to make copies. Moreover with the approval of the Co-producers either Co-producer may use the footage from the above-mentioned material for other purposes. Furthermore, each Co-producer shall have access to the original production material in accordance with the conditions agreed upon between the Co-producers.

ARTICLE 8 (i)

Both Italy and India will facilitate entry and short stay in either of the two countries for directors, actors, producers, writers, technicians and other personnel prescribed in each co production contract as per the applicable laws and importing of equipment shall also be in accordance with the applicable laws.

ARTICLE 9 (i)

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The sharing of revenues by he co-produces shall, in principle, be proportional to their respective contributions and be specifies in the agreement between the co producers. The respective contribution of each Co-producer may be decided mutually on the basis of principles

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The minority investment Co-producer shall pay any balance outstanding on his contribution to the majority investment Coproducer within sixty (60) days following delivery of all the materials required for the production of the version of the film in the language of the minority country. The majority investment Co-producer will have the same obligations towards the minority investment Coproducer.

Approval of a proposal for the Co-Production of a film by the competent authorities of both countries is in no way binding upon them in respect of the granting of permission to show the film thus produced.

ARTICLE 12 (i)

When a Co-produced film is exported to a country, which has quota limitations:

a. in principle, the Co-produced film shall be included in the quota of the country of the majority investment; b. if both Co-producers have made an equal investment, Co-producers of both sides shall decided the quota in question through mutual consultation, so that the Co-produced film can be included in the quota of the country that can make better arrangements for the export of the film; c. if difficulties still exist, the co produced film shall be included in the quota of the country of which the director is a national (ii) Notwithstanding the above, in the event that one of the Co-producing countries enjoys unrestricted entry of its films into a country that has quota regulations, a Co-Production under this Agreement shall be entitled as any other national production of that country to unrestricted entry into the importing country if that country so agrees. ARTICLE 13 (i)

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(ii) Such identification shall appear in the credits, in all commercial advertising and promotional material and whenever the Co-Production is shown. ARTICLE 14 (i)

In the event of presentation at international film festivals, and unless the Co-producers agree otherwise, a Co-Production shall be entered by the country of the majority investment Co-producer or, in the event of equal financial participation of the Co-producers, by the country of which the director is a national.

(ii) Prizes, grants, incentives and other benefits awarded to the cinematographic or audiovisual works may be shared between the Coproducers, in accordance with what has been established in the CoProduction contract and in conformity with applicable laws in force. (iii) All prizes which are not in cash form, such as honorable distinctions or trophies awarded by third countries, for cinematographic and audiovisual works produced according to the norms established by this agreement, shall be kept in trust by the majority Co-producer or according to terms established in the Co-Production contract/ agreement. ARTICLE 15 (i)

The competent authorities of both countries shall jointly establish, through a subsequent exchange of notes the rules of procedure for Co-Productions, taking into account the laws and regulations in force in Italy and in India.

ARTICLE 16 (i)

No restrictions shall be placed on the import, distribution and exhibition of Indian film, television and video productions in Italy or that of Italian film, television and video productions in India other than those contained in the legislation and regulations in force in each of the two countries, including in case of Italy the obligation deriving from the norms of the European Union insofar as the free circulation of goods among Italy and other European Union countries in concerned, will be respected.

ARTICLE 17 (i)

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Any difference or dispute regarding the implementation of this Agreement shall be settled by mutual consultation and negotiation. This does not absolve the right of co producers who enter into various contracts to seek legal remedies- such remedies may include conciliation, mediation and arbitration.

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(ii) The rights arising out of this Agreement will not be enforceable at the instance of third party (ies) who are not signatory to this Agreement. (iii) An appropriate Joint Commission may look after the implementation of this Agreement. A meeting of the Joint Commission shall take place in principle once every two years alternately in the two countries. However, it may be convened for extraordinary sessions at the request of one or both authorities, particularly in the case of major amendments to the legislation or the regulations governing the film television and video industries in one country or the other, or where the application of this Agreement present various difficulties and shall submit to the Authorities in the two countries, for consideration, the necessary amendments in order to resolve any difficulties arising from the application of this agreement as well as t improve it in the best interest of both countries. The recommendations of the Joint Commission are not binding on the two Governments. ARTICLE 18 (i)

The present Agreement shall come into force when each Party has informed the other that its international ratification procedures have been completed.

(ii) It shall be valid for a period of three (3) years from the date of its entry into force, a tacit renewal of the Agreement for like periods shall take place unless one or the other Party gives written notice of termination six (6) months before the expiry date. (iii) Co-Productions which have been recognized by the authorities and which are in progress at the time of notice of termination of this Agreement by either Party shall continue to benefit fully until completion from the provisions of this Agreement. After expiry or termination of this Agreement, its terms shall continue to apply to the division of revenues from completed Co-Productions. (iv) DONE in three originals at Rome, this 13th Day of 2005, each in Italian, English and Hindi language, all versions being equally authentic. In case of any divergence in interpretation, the English text shall prevail. In Witness Whereof, the undersigned, duly authorized thereto by their respective Governments, have signed this Agreement. For the Republic of India

For the Government of ITALIAN Republic

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

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NEW ZEALAND AGREEMENT ON AUDIO-VISUAL Co-ProductionS BETWEEN THE GOVERNMENT OF NEW ZEALAND AND THE GOVERNMENT OF THE REPUBLIC OF INDIA.

2. “Co-producer” shall be: a. as regards the Republic of India: (i)

nationals/citizens of the Republic of India;

(ii) permanent residents of India; and (iii) entities which are established and/or incorporated in India. b. as regards the New Zealand - to be indicated 3. ‘Film’ means an aggregate of images, or of images and sounds, embodied in any material, irrespective of length, including animation and documentary productions, produced in any format, for exploitation in theatres, on television, videocassette, videodisc, CD-ROM, DVD or by any other form of distribution. New forms of audiovisual production will be included in this Agreement, through the exchange of notes between the Contracting Parties. ARTICLE 2 Competent authorities 1. The competent authorities responsible for the implementation of this Agreement shall be as defined in Article 1. 2. Co-Productions falling within the scope of this Agreement shall be subject to the approval of the competent authorities.

The Government of the Republic of India and the Government of New Zealand (‘the parties’) Seeking to enhance cooperation between their two countries in the area of film; Desirous of expanding and facilitating the Co-Production of films which may be conducive to the film industries of both countries and to the development of their cultural and economic exchanges; Convinced that these exchanges will contribute to the enhancement of relations between the two countries; Have agreed as follows: ARTICLE 1 Definitions For the purposes of this Agreement 1. Competent authorities shall be: a. on behalf of the Republic of India, the Ministry of Information and; and b. On behalf of the Government of New Zealand - to be indicated -

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3. The Contracting Parties shall inform each other if the competent authorities are replaced by others. ARTICLE 3 Recognition as a National film and Entitlement to Benefits Views to be indicated later. ARTICLE 4 Conditions for obtaining approval of Co-Production status 1. Co-Production films shall require, prior to the commencement of shooting, approval by both the competent authorities. Approvals shall be in writing and shall specify the conditions upon which approval is granted. 2. In considering proposals for the making of a Co-Production film, both the competent authorities, shall with due regard to their respective policies and guidelines, apply the rules set out in the Annex to this Agreement. 3. The Co-producers of a film shall have their principal office or a branch office in the territory of one of the Contracting Parties. None of the Co-producers shall be linked by common management, ownership or control. 4. Technical and artistic personnel are those persons who, in accordance with the domestic law in force in their own country, are recognized as makers of audiovisual productions, in particular screenwriters, directors, composers, editors, directors of photography, art directors, actors and sound technicians. The contribution of each of these persons shall be evaluated individually.

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5. As a rule, the contribution includes at least one leading actor, one supporting actor and/or one qualified technical staff person, in addition to the one person as referred to in paragraph (4) provided that two qualified technical staff persons may substitute for one leading actor. 6. The Co-producers in either of the two countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, financial backing and professional reputation. The Contracting Parties are not responsible or liable for the credentials of either of the Co-producers. 7. The company carrying out the Co-Production shall provide evidence that the primary business of that company is audiovisual (film, television and video) production. 8. The sharing of expenses and revenues shall be as mutually decided by the Co Producers. ARTICLE 5 Contributions 1. Any benefits under this Agreement shall be available for the Co-Production only when investment of finance, material and management including creative and other inputs is not below 20 % (twenty percent) of the total cost coming from the Co-producer of one country. The proportion of the respective contribution of the co producers of the Parties may vary from 20% (twenty percent) to 80% (eighty percent). 2. Subject to prior approval and in exceptional cases both Competent Authorities may approve Audiovisual Co-Productions where: a. the contribution by one Co-producer is limited to the provision of finance only, in which case the proposed finance-only contribution shall be 50% (Fifty per cent) or more of the total budget of the Audiovisual Co-Production; or b. Despite falling outside the contribution rules, the Competent Authorities consider that the project would further the objectives of this Agreement and should be approved accordingly. 3. Both the financial contribution, and the performing, technical, craft and creative participation of each Co-producer shall account for at least 20% (twenty per cent) of the total effort in making the Co-Production film. ARTICLE 6 Minority and majority contribution in the case of multilateral Co-Productions 1. Subject to the specific conditions and limits laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral Co-Productions, the minority contribution may not be less than 10% (ten per cent) and the majority contribution may not exceed 70% (seventy per cent) of the total cost of the film.

ARTICLE 7 Participants 1. The persons participating in the production of a film shall fulfill the following requirements: a. As regards the Republic of India, they shall be (i)

Nationals/Citizens of the Republic of India or

(ii) Permanent residents of India; b.

As regards the New Zealand - to be indicated –

Participants in the Co-Production as defined in sub paragraphs (a) and (b) must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity. 2. Subject to the approval of the competent authorities: a. where script or costs dictates, restricted numbers of performers from other countries may be engaged; b. in exceptional circumstances, restricted numbers of technical personnel from other countries may be engaged ARTICLE 8 Film Processing, Laboratory work, Negatives and Languages etc. 1. The processing of film including the laboratory work, digital intermediate, visual and special effects work shall be done in either India or New Zealand unless it is technically impossible to do so, in which case the Competent Authorities of both countries may authorize such work in a country not participating in the co production. 2. At least 90% (ninety per cent) of the footage included in a Co-Production film shall be specially shot or crated for the film unless otherwise approved by the competent authorities 3. Two negatives, or at least one negative and one duplicate negative, shall be made of all Co-produced films. Each Co-producer shall be entitled to make a further duplicate or prints there from. Each Co-producer shall also be entitled to use the original negative in accordance with the conditions agreed upon between the Co-producers themselves. 4. The original soundtrack of each Co-Production film shall be made in Hindi or any other Indian language or dialect or, in English or ----- or in any combination of those permitted languages. Dialogue in other languages may be included in the Co-Production, as the script requires. 5. The dubbing or subtitling into one of the permitted languages of the Republic of India or New Zealand shall be carried out in the Republic of India, or in the New Zealand. Any departure from this principle must be approved by the competent authorities.

2. Both Competent Authorities shall also look favourably upon co production to be undertaken with any other country linked with India and New Zealand by an official co production agreement. 284

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6. Post-release print dubbed into any other language may be carried out in third countrie 7. The soundtrack may contain sections of dialogue in any language in so far as is required by the script. ARTICLE 9 Location Shooting 1. Live action shooting and animation works such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out either in India or in New Zealand. 2. The Competent Authorities may approve location shooting in a country other than those of the participating Co-producers if the script or action so requires and if technicians from India and New Zealand take part in the shooting. 3. Notwithstanding Article 7, where location shooting is approved in accordance with the present Article, citizens of the country in which location shooting takes place may be employed as crowd artists, in small roles, or as additional employees whose services are necessary for the location work to be undertaken.

Acknowledgements, Credits A Co-Production film and the promotional material associated with it shall include either a credit title indicating that the film is an ‘Official Indian-New Zealand CoProduction” or an ‘Official New Zealand – Indian Co-Production” or , where relevant, a credit which reflects the participation of the Republic of India, New Zealand and the country of a third Co-producer. ARTICLE 13 Temporary Entry into the country For approved Co-Productions, each Contracting Party shall facilitate, in accordance with the domestic law in force in its country: a. Entry into and temporary residence in its territory for technical and artistic personnel of the other Contracting Party; b. the import into and export from its territory of technical and other filmmaking equipment and materials by producers of the other Contracting Party. ARTICLE 14

ARTICLE 10

Permission for Public Exhibition 1. Permission for public exhibition will be in accordance with local laws in both India and New Zealand.

Entry in International Festivals 1. The majority Co-producer shall normally enter Co-produced films in international festi¬vals. 2. Films produced on the basis of equal contributions shall be entered as a film of the country of which the director is a national, and if this is not possible then the film shall be submitted as a film of the country of which the lead actor is a national, subject to the agreement of the competent authorities of both Contracting Parties. ARTICLE 11 Export of Co produced Film 1. Where a Co-Production is exported to a country that has quota regulations, it shall be included in the quota of the Party: a. which is the majority Co-producer; b. that has the best opportunity of arranging for its export, if the respective contributions of the Co-producers are equal; c. of which the director is a national, if any difficulties arise with the application of sub-paragraphs (a) and (b) hereof. 2. Not withstanding Paragraph 1, in the event that one of the Co-producing countries enjoys unrestricted entry of its films into a country that has quota regulations, a Co-Production undertaken under this Agreement shall be as entitled as any other national production of the above-mentioned Co-producing country to unrestricted entry into the importing country if that above-mentioned Co-producing country so agrees.

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2. The approval of Co-Production status under this Agreement will not mean a commitment to permit public exhibition of the Audiovisual Co-Production. ARTICLE 15 Balanced contribution 1. A general balance should be maintained with regard to both the artistic and technical personnel, including the cast, and with regard to the financial investment and facilities (studios, laboratories, and postproduction). 2. The Joint Commission, established in terms of Article 16, shall carry out a review to see whether this balance has been maintained and, if this is not the case, shall take measures, which it considers necessary in order to re-establish such a balance. ARTICLE 16 Joint Commission 1. The Joint Commission shall be composed of representatives from the Competent Authorities and from the audio-visual industry of both the contracting parties. 2. The role of the Joint Commission shall be to supervise and review the operation of this Agreement and to make any proposals considered necessary to improve the effect of the Agreement. 3. The Joint Commission shall be convened, whether by meeting or otherwise, at the request of either of the Parties within six months of such a request. Cannes Film Market

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ARTICLE 17

through the diplomatic channel.

Status of Annex 1. The Annex to this agreement constitutes an implementing arrangement in respect of this Agreement and shall be read in conjunction with the provisions of this Agreement 2. Subject to paragraph 2 of Article 18, any modifications to the Annex shall be agreed by both the competent authorities. No modifications to the Annex shall conflict with the provisions of this Agreement. 3. Modifications to the Annex shall be confirmed by the competent authorities in writing and shall take effect on the date they specify. ARTICLE 18 Entry into Force Each of the Parties shall notify the other in writing through the diplomatic channel of the completion of any procedure required by its constitutional law for giving effect.

3. Termination of this Agreement shall have no effect on the completion of Co-Productions approved prior to its termination. Done at ______________________-this ____day of ______________, ________in the English and Hindi languages, both texts being equally authentic. In case of any divergence in interpretation, the English text shall prevail. For the Republic of India

For the Government of NEW ZEALAND

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

ARTICLE 19 Amendment 1. Subject to paragraph 2 of this Article, this Agreement may be amended by written agreement between the two parties through an exchange of diplomatic notes. Amendments shall take effect on the date specified in the notes. 2. Either Party may by diplomatic note notify the other of a change in its competent authority. The change shall take effect on the date specified in the note. ARTICLE 20 Settlement of Disputes Any dispute between the Contracting Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation. ARTICLE 21 Duration and Termination 1. The term of this Agreement shall be for a period of three years from the date it enters into force and thereafter automatically renewed for further periods of three years. 2. Either Contracting Party may terminate this Agreement by giving six months’ written notice in advance of such intention to the other Contracting Party

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CO-PRODUCTION AGREEMENTS percentage of the contribution of a co- producer changes subsequent to the approval of the competent authorities; in any case, the contribution may not be less than the minimum contribution agreed in Article 9;

Annexure to Agreement between the Government of the Republic of India and the Government of the ____________________ on Audio Visual Co-Productions (Rules of procedure for applications for approval of Co-Production status under this agreement) 1. Applications for qualification of a film for Co-Production benefits under this Agreement for any Co-Production must be made simultaneously to both competent authorities at least thirty (30) days before shooting begins. 2. The competent authority of both Parties shall communicate their proposal to the other competent authority within twenty (20) days of the submission of the complete documentation as described in paragraph 3 below. 3. Documentation submitted in support of an application shall consist of the following items, drafted in _________in the case of _______ and in English in the case of India: 3.1 The final script and synopsis; Co-Productions under this Agreement shall be shot in ____________or India, as the case may be, in accordance with the guidelines of the respective country; The Parties shall inform each other from time to time of relevant guidelines and any changes thereto. 3.2 Documentary proof of having legally acquired the rights to produce and exploit the Co-Production and that the copyright for the Co-Production has been legally acquired; 3.3 a copy of the Co-Production contract signed by the two Co-producers. The contract shall include a. the title of the Co-Production; b. the name of the author of the script, or that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a film from the author/legal heirs may be attached; c. the name of the director (a substitution clause is permitted to provide for his/her replacement if necessary); d. the budget; e. the financing plan; f.

a clause establishing the sharing of revenues, markets, media or a combination of these;

g. a clause detailing the respective shares of the Co-producers in any over or under expenditure, which shares shall in principle be proportional to their respective contributions, although the minority Co-producer’s share in any over expenditure may be limited to a lower percentage or to a fixed amount providing that the minimum proportion permitted under Article 9 of the Agreement is respected; h. a clause stating that the competent authorities have to be informed if the

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a clause stating that films Co-produced under this Agreement may be publicly exhibited in either country in accordance with prescribed rules/procedures;

a clause recognizing that admission to benefits under this Agreement does not constitute a commitment that governmental authorities in either country will grant a license to permit public exhibition of the Co-Production; k. a clause prescribing the measures to be taken where: (i) after full consideration of the case, the competent authorities in either country refuse to grant the benefits applied for; (ii) the competent authorities prohibit the exhibition of the Co-Production in either country or its export to a third country; (iii) either one or the other Party fails to fulfill its commitments; l.

the period when shooting is to begin;

m. a clause stipulating that the majority Co-producer shall take out an insurance policy covering at least “all production risks” and “all original material production risks”; and n. a clause providing for the sharing of the ownership of copyright on a basis that it is proportionate to the respective contributions of the Co-producers. 3.4 the distribution contract, where it has already been signed, or a draft if it has yet to be concluded; 3.5 a list of the creative and technical personnel indicating their nationalities and, in the case of performers, the roles they are to play; 3.6 the production schedule; 3.7 the detailed budget identifying the expenses to be incurred by each country; and 3.8 all contracts and other relevant financial documentation for all participants in the financial structure. 4. The competent authorities can demand any further documents and all other additional information deemed necessary. 5. In principle, the final shooting script (including the dialogue) should be submitted to the competent authorities prior to the commencement of shooting. 6. Amendments, including the replacement of a Co-producer, may be made in the original contract, but they must be submitted for approval by the competent authorities before the Co-Production is finished. The replacement of a Coproducer may be allowed only in exceptional cases and for reasons satisfactory to both the competent authorities. 7. The competent authorities will keep each other informed of their respective decisions.

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POLAND

2. Each Co-Production undertaken under this Agreement, after it has fulfilled all the conditions herein, must gain approval from the following Competent Authorities:

Agreement between the government of the republic of poland and the government of the republic of india on audiovisual CoProduction.

(i)

In the Republic of Poland – the Minister of Culture and National Heritage,

(ii) In the Republic of India – the Ministry of Information, Radio and Television. (iii) Each Co-Production undertaken under this Agreement shall be realized and disseminated in accordance with the law in force in Poland and in India. (iv) Unless otherwise provided for under the laws in force in Poland and India, each Co-Production undertaken under this Agreement shall be regarded a domestic production in each State-Party in order to obtain all present and future benefits conferred upon domestic productions in these two States. Nevertheless, such benefits shall be due only to Coproducers from the country which confers these benefits. ARTICLE 2

The government of the republic of poland and the government of the republic of india hereinafter referred to as the “Parties”: CONSIDERING it desirable to establish a legal framework for relations regarding audiovisual Co-Production, especially the production of films for the cinema and television, as well as films intended solely for dissemination on analogue or digital data carriers; AWARE that a high quality of Co-Production may encourage the development of enterprises and institutions which produce, distribute and disseminate films and enhance cultural and economic exchange between both States; CONVINCED that such exchange shall strengthen relations between both States; Have agreed as follows: ARTICLE 1 1. For the purpose of this Agreement, the term “Co-Production” shall mean a feature film intended for screening in the cinema as the primary field of exploitation, as well as a documentary, educational and animated film, regardless of length, jointly financed and produced by Co-producers from Poland and India; recorded on film or magnetic tape or on a digital medium; and intended for public dissemination in any way, especially in the cinema, on television or on analogue or digital data carriers. The term “Co-Production” shall also mean a plan to produce and the process of producing such a film.

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Each Co-producer must possess broad professional experience, good technical organization, considerable organization abilities, strong financial support and a good reputation. These qualities shall be verified by the parties to co-production agreements, and no clause in this Agreement shall give rise to any liability by the Competent Authorities or Governments to conduct such a verification. ARTICLE 3 1. The contribution of Co-producers from each State should range from twenty percent (20%) to eighty percent (80%) of the budget of each Co-Production. 2. The Co-producers from each State should make a tangible creative and technical contribution to a Co-Production in proportion to their share in its budget, encompassing the total engagement of filmmakers, actors, technicalproduction personnel, laboratories and facilities. In justified cases, the Competent Authorities may approve a Co-Production which does not satisfy all of these requirements. ARTICLE 4 Producers, directors, screenwriters and actors, as well as technicians and remaining staff engaged in the Co-Production, must hold Polish or Indian citizenship or have their place of abode or permanent residence in one of these States, in accordance with the domestic law of each State. In justified cases, the Competent Authorities may approve a Co-Production which does not satisfy all of these requirements.

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ARTICLE 5

ARTICLE 9

1. The Competent Authorities may approve a Co-Production involving, apart from Polish and Indian Co-producers, Co-producers from third countries which are parties to an audiovisual Co-Production agreement with at least one of these States (multilateral Co-Production).

In accordance with the laws in force in their States, the Parties shall: 1. Permit producers, copywriters, directors, technicians, actors and other personnel specified in each Co-Production agreement to enter and briefly stay in their country,

2. The minimum contribution by a Co-producer in a multilateral Co-Production should be ten percent (10%) of the Co-Production’s budget. Article 3 para 2 of this Agreement shall apply as appropriate.

2. Permit the film equipment and tapes required for Co-Production to be brought into and taken out of the country.

ARTICLE 6

The division of revenues between Co-producers should correspond to their contribution to the Co-Production, taking into account Article 3 para 2 of this Agreement, and should be clearly stated in the Co-Production agreement.

1. Filming and animation work, including the storyboard, layour, key animation and in between as well as sound recording, should be carried out in Poland or India. 2. The filming of scenes in the open air or indoors may be performed in a third country if the screenplay or plot requires it and if Polish and Indian technicians are involved in this work. 3. Laboratory processing shall be carried out in Poland or India, unless this is not possible for technical reasons. In such a case, the Competent Authorities may permit the laboratory processing to be carried out in a third country. ARTICLE 7 1. The original soundtrack of each Co-Production shall be recorded in Polish, English or one of the languages or dialects of India (languages of the Parties). Dubbed soundtracks in any of these languages may be recorded in Poland or in India. A film may be made in more than one language of the Parties version. Dialogues may also be recorded in other languages if the screenplay requires this. 2. Each language version of each Co-Production (dubbing or subtitles) shall be produced in Poland and in India, as appropriate. Any departures from this rule must be approved by the Competent Authorities. ARTICLE 8 1. Each Co-Production shall be made in at least two copies of good picture quality, of equal legal validity, and in two international sound copies, on media which permit independent distribution in Poland and India.

ARTICLE 10

ARTICLE 11 No provision of this Agreement shall imply that the approval of Co-Production or the granting of any associated benefits by the Competent Authorities signifies an obligation by any of the Governments so grant a license, concession, permit or similar decision to Co-producers or any other persons for the dissemination of a CoProduction. Neither shall any such provision imply that these Authorities consider a Co-Production justified or bear any responsibility for it. ARTICLE 12 1. If a Co-Production is exported to a third country which applies a maximum quota of such imports, the Co-Production shall be included in the quota of the majority Co-producing State. 2. If there is no majority Co-producing State, the Co-Production shall be included in the quota of that State-Party which, in the joint opinion of the Co-producers, has better chances of exporting the film. In the absence of agreement between the Co-producers, the Co-Production shall be included in the quota of the country of which the director is a citizen. 3. If one of the State-Parties enjoys an unlimited right to export its films to a third country which applies a maximum quota of such imports, the Co-Production, like any other domestic production of the State-Party, shall be the subject of unlimited exports to that third country, with the approval of that country’s Competent Authorities.

2. The original negatives, as well as the final version of back up copies and master copy, shall be stored in the country of the majority Co-producer or in another place agreed upon between the Co-producers. Regardless of the place of storage, each Co-producer should have guaranteed access to these materials at any time, so that he may make essential reproductions under terms and conditions agreed upon between the Co-producers.

ARTICLE 13

3. At least two backup copies of medium and high-budget Co-Productions shall be made. If the Co-producers so agree, only one backup copy and one copy of the materials for reproduction may be made in the case of Co-Productions deemed to be low budget Co-Productions by the Competent Authorities.

2. The caption referred to in para 1 shall be accommodated in the opening credits and in all advertising and promotional materials, especially whenever such a Co-Production is presented.

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1. Each Co-Production destined for presentation shall be endorsed with the caption “A Polish Indian Co-Production” or “An Indian-Polish Co-Production”, depending on the majority Co-producer’s country of origin. In the absence of such a Co-producer, the Co-Production shall be endorsed in accordance with the terms of the Co-Production ent.

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ARTICLE 14 1. Unless otherwise agreed upon by the Co-producers, if a Co-Production is to be presented at an international film festival, it shall be submitted by the majority Co-producer’s country or, in the absence thereof, by the country of which the film director is a citizen. 2. Prizes, grants and other distinctions granted for the Co-Production shall be divided between the Co-producers in accordance with the terms of the CoProduction agreement and the laws in force in both States. 3. All non-pecuniary awards granted for the Co-Production, especially any honorary distinctions and statuaries conferred by a third country or by an organization from a third country, shall be kept by the entity specified in the CoProduction agreement or, in the absence thereof, by the majority Co-producer. ARTICLE 15

ARTICLE 16 1. This Agreement is subject to acceptance in accordance with the laws of each Party, which shall be effected by means of an exchange of memoranda. The date on which this Agreement enters into force shall be the date on which the later of the two memoranda is received. 2. This Agreement is concluded for an indefinite period. Either Party may terminate it with six month’s notice, conveyed to the other Party in writing. 3. Any Co-Productions approved by the Competent Authorities and being realized at the moment of termination of this Agreement by either party shall continue to be bound by the terms thereof until they are completed. If this Agreement expires or is terminated, its provisions will be applied to the division of revenues from completed Co-Productions.

The producers governing the application of this Agreement, taking into account the law in force in Poland and in India, are set forth in an Appendix to this Agreement and thus form an integral part thereof.

In witness whereof the undersigned, duly authorized by their respective Governments, have signed this Agreement.

ARTICLE 16

Done in ……………on……………….in two counterparts, each of them in Polish and in English, whereby all texts are equally authentic.

The Parties shall impose no restrictions on the import, distribution and dissemination of Polish and Indian films to be shown in the cinema or on television, or destined solely for distribution on analogue or digital data carriers, to the extent permitted under the laws of Poland and India. ARTICLE 17 1. The Parties and Competent Authorities shall resolve any disputes during the realization of this Agreement by means of negotiations. 2. For the purpose of a further expansion of co-operation between the two States in the sphere of audiovisual Co-Production, the Parties express their readiness to introduce all necessary amendments and additions to this Agreement in the manner foreseen in the laws of both States. 3. To facilitate the application of this Agreement, the Parties or Competent Authorities may appoint a Joint Commission which will normally meet every two years, alternately in Poland and in India. The Commission may also be convened for an extraordinary meeting at the motion of the Competent Authorities or one or both Parties, especially in the event of significant changes to the legislation of any of the States-Parties which could affect the implementation of this Agreement, or in the event of major difficulties with its implementation.

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For the Republic of India

For the Government of Republic of POLAND

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

APPENDIX PROCEDUTES General Provisions Applications for any benefits under this Agreement in aid of any Co-Production must be submitted simultaneously to the Competent Authorities at least sixty (60) days before filming begins. The Competent Authorities of the State of which the majority Co-producer or another Co-producer indicated by the Co-producers is a citizen shall convey their decision to the Competent Authorities of the other State within thirty (30) days of the submission of the complete documentation listed below. Again within thirty (30) days, the Competent Authorities of the other State

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shall convey their decision to the Competent Authorities of the first State and to the Co-producer appointed by the Co-producers. Applications should be supported by the following documents, drawn up in Polish and English in the case of Poland and in English and one of the languages of India in the case of India: 1. Final version of the screenplay, 2. Evidence of the lawful acquisition of the copyright necessary to a given CoProduction, 3. A signed copy of a Co-Production agreement concluded between Co-producers, which should contain: a. The title of the Co-Production, b. The name of the author of the screenplay or of the person who adapted the screenplay, if it is based on literary sources, c. The name of the director, d. A synopsis, e. A budget plan, f. A financial plan, stating the financial input of the Co-producers, g. A clause defining the division of revenues and markets, h. A clause setting forth a share in the copyright in proportion to the input of individual Co-producers, i. A clause describing what to do if the budget is exceeded, j. A clause describing the measures to be taken (if one of the Parties does not discharge its obligations, k. A clause setting forth the rules governing financial settlements if any Coproducer fails to provide the financial contribution agreed upon in the CoProduction agreement, l. A clause confirming that the acceptance of a Co-Production does not imply any production will be distributed in the States-Parties, m. A clause obligating the majority Co-producer to take out an insurance policy providing cover at least against “all production risks” and “all production risks connected with original materials.” n. The date on which filming commences. 4. The distribution agreement, if such an agreement has already been concluded, 5. A list of the filmmakers, actors and technicians, indicating their nationality and, in the case of actors, the names of their characters, 6. A production schedule, 7. A detailed budget, showing the expenditures to be incurred by the Co-producers in each country.

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IMPORTANT PROVISIONS FOR INDIA In addition, an application addressed to the Indian Ministry of Information, Radio and Television (MIRT) should be accompanied by four copies of the screenplay and film synopsis, together with a payment mandate for USD 200 payable to the MIRT Department of Payments and Settlements. If the film is to be shot wholly or partly in India, the Co-producers must provide the Indian Embassy in Poland and MIRT with the following information: 1. Details of any non-Indian members of the film crew: names, passport numbers and expiry dates, country which issued the passport, nationality, permanent and temporary address. 2. An accurate description of the shooting locations and the film crew’s travel plans. 3. A description of the cinematographic equipment and quantity of film to be brought in to India temporarily. Within three weeks of receipt of the required set of documents, the MIRT will send the appropriate filming permit to all Co-producers and the Competent Authorities in the other State. A longer period for issuing the filming permit may be required if filming is to take place in Jammu and Kashmir, north-eastern States and some border zones. Permission to film in India may be dependent upon the following conditions: 1. Permission from a person or his legal heir who is to be portrayed in the film; a copy of the permission should be attached to the screenplay, 2. If it is necessary to obtain assistance from the Ministry of Defence, Ministry of Education, etc. separate agreements may have to be concluded with these Ministries. Requests for such assistance may be submitted vis the MIRT, 3. Each film for whose production the assistance of the Armed Forces has been obtained must be presented to the Ministry to the Ministry of Defence in order to obtain permission for its distribution. 4. In particular cases, a film may have to be presented to a representative of the Government of India or to the Indian Embassy in Poland before it can be shown anywhere in the world. Also in particular cases, a liaison officer may be assigned to a film crew – at the expense of the Government of India. CONCLUDING PROVISIONS The Competent Authorities may ask for any additional documents or information which they consider essential in order to consider an application for a Co-Production. The final screenplay (with script) should be presented to the Competent Authorities prior to the start of filming. Amendments, including a change of Co-producer, may be made to the original Co-Production agreement. However, any amendments must be submitted to the Competent Authorities for approval before the Co-Production is completed. A change of Co-producer is permissible only in exceptional circumstances, and for reasons considered by the Competent Authorities to be satisfactory. The Competent Authorities shall inform each other of the decisions they have reached. Cannes Film Market

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Portuguese

this Agreement. New forms of audio-visual production shall be included in the present Agreement by exchange of notes between the Parties.

AGREEMENT BETWEEN THE REPUBLIC OF INDIA AND THE PORTUGUESE REPUBLIC ON AUDIO-VISUAL COPRODUCTION

2. “Competent Authorities” means both Competent Authorities responsible for the implementation of this Agreement or either Competent Authority in regard to its own State, as the case may be. The Competent Authorities are: (i)

(On behalf of the Republic of India, the Ministry of Information and Broadcasting;

(ii) On behalf of the Portuguese Republic, the Instituto do Cinema e Audiovisual – ICA, I.P. (Film and Audio-visual Institute). 3. The term “Co-producer” means a person who is a citizen of the Republic of India or the Portuguese Republic or a legal entity based or established in the territory of either State who is authorized to enter into coproduction contracts with a view to organising, carrying out and co-financing film production; ARTICLE 2 Recognition as a National Film and Entitlement to Benefits 1. An Approved Co-production shall be fully entitled to all the benefits which are or may be accorded to national films by each of the Parties under their respective national laws.

The Republic of India and the Portuguese Republic, hereinafter referred to as “the Parties” TAKING INTO ACCOUNT that both Parties have ratified and are committed to implementing the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, signed in Paris, on the 20th October 2005; SEEKING to improve the cooperation between the two States in the audio-visual field and aware of the contribution that co-production can make to the development of the audio-visual industry; DESIROUS of promoting and facilitating the co-production of films between the two States, and the development of their cultural and economic exchanges; CONVINCED that these exchanges shall contribute to improve the relations between the two States, HAVE AGREED AS FOLLOWS:

2. These films shall be entitled to claim all State support and benefits available to the film and video industries and the privileges granted by the provisions in force in the respective States. ARTICLE 3 Temporary Entry into the State 1. Each Party shall permit, in accordance with their respective legislation(s), temporary import and export of any equipment necessary for the production of an Approved Co-production. 2.

Each Party is committed to process as quickly as possible and according to applicable laws, any request of a person engaged in the making or promotion of an Approved Co-production to enter and remain in the State for the length of stay as needed to complete the Approved Co-production.

ARTICLE 1

ARTICLE 4

Definitions

Participants

In this Agreement, unless the Agreement otherwise requires: 1. “Approved Co-production” means a film, including feature film, documentary and animation film irrespective of length, for exploitation in cinemas, televisions or any other form of distribution, jointly invested in and produced by co-producers made in accordance with the terms of recognition given by the competent authorities of Republic of India and Portuguese Republic under 300

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1. The persons participating in the production of an Approved Co-production shall fulfill the following requirements: a. As regards the Republic of India, they shall be – (i)

Nationals/Citizens of the Republic of India, or;

(ii) Entities which are established and/or incorporated in India.

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b. As regards the Portuguese Republic, they shall be – (i)

Nationals/Citizens of the Portuguese Republic Economic Area;

or the European

(ii) Entities which are based or established in the Portuguese Republic. 2. Participants in the co-production as defined in sub paragraphs (a) and (b) must retain their national status at all times throughout the production activity, and may not acquire or lose such status at any point during the course of production activity. 3. Should the film so require, the participation of professionals who are not citizens of any of the co-producing States may be permitted, subject to the approval of the competent authorities of both States. ARTICLE 5

7. Nothing in this Agreement binds the competent authorities in the territories of the Parties to permit the public exhibition of a film, which has been granted Approved Co-production status. ARTICLE 7 Film Negatives and Languages 1. The original soundtrack of each Approved Co-production shall be made in Hindi, or any other Indian language or dialect, or in Portuguese, or in English, or in any combination of those permitted languages. Dialogue in other languages may be included in the Approved Co-production, as the script requires. 2. The dubbing or subtitling into one of the permitted languages of the Republic of India shall be carried out in the Republic of India. ARTICLE 8

Contributions in Bilateral Co-production 1. As a general rule, the approved co-production status under this Agreement is granted to bilateral co-productions in which the contribution of the minority co-producer is not below 20% (twenty per cent). 2. Notwithstanding the provisions of this Agreement and in the interest of bilateral co-productions, even those films which are produced in one of the two States and where the minority contribution is limited to financial investment may be granted approved co-production status according to the Co-production Agreement. In such a case, the minority contribution may not be less than 20% (twenty per cent) of the final total cost of the film. ARTICLE 6 Conditions for obtaining Co-production status 1. Approved co-productions shall require, prior to the commencement of shooting, approval of the Competent Authorities of both States. 2. The approvals granted under the national laws of both States shall be in writing and shall specify the conditions under which the approval is granted. 3. None of the co-producers shall be linked by common management, ownership or control, save to the extent that such links are inherent in the making of the Approved Co-production itself. 4. In considering proposals for the making of an Approved Co-production, both Competent Authorities shall apply the rules and principles set out in this Agreement, including the Annexure which is part of this Agreement, with due regard to their respective policies and guidelines. 5. Competent Authorities shall publish guidelines namely with respect to further specifications on the application procedure and special cases.

Minority and majority contribution in the case of multilateral co-productions Subject to the specific conditions and limits laid down in laws and regulations in force in the Parties, in the case of multilateral co-productions, the minority contribution may not be less than 10% (ten per cent) and the majority contribution may not exceed 70% (seventy per cent) of the total cost of the film. ARTICLE 9 Balanced contribution 1. A general balance should be maintained with regard to both the artistic and technical personnel, including the cast, and with regard to the financial investment and facilities (studios, laboratories, and postproduction). 2. The Joint Commission, established in terms of this Co-production Agreement, shall carry out a review to see whether this balance has been maintained. 3. If this is not the case, the Joint Commission may propose measures which it considers necessary in order to re-establish such a balance. ARTICLE 10 Joint Commission 1. The Joint Commission shall comprise an equal number of members from both Parties, representing the Governments and the film industry of both Parties. 2. The role of the Joint Commission shall be to supervise and review the implementation and operation of this Agreement and to make any proposals considered necessary to improve the implementation of the Agreement.

6. When adopting such guidelines, the Contracting Parties shall ensure a coherent interpretation and implementation of this Agreement. 302

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3. The Joint Commission shall be convened, whether by meeting or otherwise, at the request of either of the Parties within six months of such a request. ARTICLE 11 Entry in International Film Festivals

3. Termination of the present Agreement shall not affect the implementation of the projects which are already in progress under the present Agreement and shall be continued in accordance with the terms and conditions of the Agreement. 4. The Annexure of this Agreement shall be an integral part of this Agreement.

1. As a rule, applications for selection of Approved Co-productions in international festivals shall be submitted by the majority co-producer. 2. Films produced on the basis of equal contributions shall be entered as a film of the State of which the director is a national, provided that the director is not from a third State in which case the film shall be submitted as a film of the State of which the lead actor is a national, subject to the agreement of the competent authorities of both Parties. ARTICLE 12

IN WITNESS WHEREOF, the undersigned being duly authorized thereto, by their respective Governments, have signed this Agreement. Done in ……………on……………….2020 in two originals, each in Hindi, Portuguese and English languages, all texts being equally authentic. In case of divergence in interpretation, the English text shall prevail. For the Republic of India

For the Portuguese Republic

..................................................

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Foreign Secretary

Secretary, Ministry of Information

Credits A co-production film and the promotional materials associated with it shall include either a credit title indicating that the film is “an official Portuguese-Indian coproduction” or “an official Indian-Portuguese co-production” or where relevant a credit which reflects the participation of the other contracting State. ARTICLE 13 Amendment

APPENDIX

1. This Co-production Agreement may be amended by the mutual written consent of the Parties through the exchange of notes between the Parties through the diplomatic channel.

PROCEDUTES 1. Applications for any benefits under this Agreement in aid of any co-production must be submitted simultaneously to the Competent Authorities at least sixty (60) days before filming begins. The Competent Authorities of the State of which the majority co-producer or another co-producer indicated by the coproducers is a citizen shall convey their decision to the Competent Authorities of the other State within thirty (30) days of the submission of the complete documentation listed below. Again within thirty (30) days, the Competent Authorities of the other State shall convey their decision to the Competent Authorities of the first State and to the co-producer appointed by the coproducers.

2. Amendments thus approved shall enter into force as provided for in article 15, paragraph 1. ARTICLE 14 Settlement of Disputes Any dispute arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation between the Parties. ARTICLE 15

2.1 Final version of the script;

Entry into Force, Duration and Termination of the Agreement 1. This Agreement shall enter into force 30 (thirty) days after the reception of the later of the notifications, in writing and through the diplomatic channels, indicating that all the internal procedures required for that purpose have been fulfilled. 2. This Agreement shall continue to be inforce, unless either Party terminates the present Agreement by giving a written notice of its intention to terminate it to the other Party at least six (6) months in advance. 304

2. Applications should be supported by the following documents:

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2.2 Evidence of the lawful acquisition of the copyright necessary to a given coproduction; 2.3 A signed copy of a co-production contract concluded between co-producers, which should contain:

a. The title of the co-production;

b. The name of the author of the screenplay or of the person who adapted the screenplay, if it is based on literary sources;

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c. The name of the director;

d. A clause defining the division of revenues and markets;

e. A clause setting forth a share in the copyright in proportion to the input of individual co-producers;

f. A clause describing what to do if the budget is exceeded;

g. A clause describing the measures to be taken if one of the co-producers fails to provide the financial contribution agreed upon in the co-production contract;

h. A clause confirming that the acceptance of a co-production does not imply any production will be distributed in the States-Parties;

i. A clause obligating the majority co-producer to take out an insurance policy providing cover at least against “all production risks” and “all production risks connected with original materials.”

2.4 A synopsis; 2.5 A financial plan, stating the financial input of the co-producers; 2.6 Indication of the date on which principal photography commences and planned production and postproduction calendar; 2.7 Distribution/ broadcasting/ sales agreements, if such agreements have already been concluded; 2.8 A detailed budget, showing the expenditures to be incurred by the coproducers in each State. Guidelines for the implementation of the Audiovisual Co-production Agreement between the Republic of India and Portuguese Republic Common Provisions 1. The Competent Authorities may ask for any additional documents or information which they consider essential in order to consider an application for a coproduction. 2. The final screenplay (with script) should be presented to the Competent Authorities prior to the start of filming. 3. Amendments, including a change of co-producer, may be made to the original co-production contract. However, any amendments must be submitted to the Competent Authorities for approval before the co-production is completed. A change of co-producer is permissible only in exceptional circumstances, and for reasons considered by the Competent Authorities to be satisfactory. The Competent Authorities shall inform each other of the decisions they have reached. Provisions Applying to Indian co-producers and to filming in the Republic of India Permission to film in India may be dependent upon the following conditions:

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1. Each application addressed to the Indian Ministry of Information and Broadcasting (MIB), should be accompanied by four copies of the screenplay and film synopsis together with a processing fee of US$ 225 payable to Pay & Accounts Officer, Ministry of Information & Broadcasting or for the amount as may be revised from time to time. 2. If the film is to be shot wholly or partly in the Republic of India, the coproducers must provide the Indian Embassy in the Portuguese Republic and Ministry of Information & Broadcasting with the following information: (a) Details of any non-Indian members of the film crew: names, passport numbers and expiry dates, State which issued the passport, nationality, permanent and temporary address; (b) An accurate description of the shooting locations and the film crew’s travel plans; (c) A description of the cinematographic equipment and quantity of film to be brought in to the Republic of India temporarily. 3. Within three weeks of receipt of the required set of documents, the Ministry of Information & Broadcasting will send the appropriate filming permit to all co-producers and the Competent Authorities in the other State. A longer period for issuing the filming permit may be required if filming is to take place in some restricted areas. 4. If it is necessary to obtain assistance from the Ministry of Defence, Ministry of Culture, etc. separate agreements may have to be concluded with these Ministries. Requests for such assistance may be submitted via the Ministry of Information & Broadcasting. 5. If the film portrays a person, permission by this person or his/her legal heir is required and copy of the permission should be attached to the screenplay. 6. Each film for whose production the assistance of the Armed Forces has been obtained must be presented to the Ministry of Defence in order to obtain permission for its distribution. 7. In particular cases, a film may have to be presented to a representative of the Government of the Republic of India or to the Indian Embassy in the Portuguese Republic before it can be shown anywhere in the world. Also in particular cases, a liaison officer may be assigned to a film crew at the expense of the Government of the Republic of India.

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SOUTH KOREA AGREEMENT ON FILM CO-PRODUCTION BETWEEN THE GOVERNMENT OF THE REPUBLIC OF INIDA AND THE GOVERNMENT OF THE REPUBLIC OF KOREA

ARTICLE 1: Definitions For the purposes of this Agreement: (a) “Audio-visual co-production” means an audio-visual work such as films, animations and broadcasting programmes made by one or more coproducer(s) of a Party in cooperation with one or more co-producer(s) of the other Party (or in the case of a third country co-production under Article 5, with one or more co-producer(s) of a third country) which is approved by the competent authorities of each Party. New forms of audio-visual coproductions shall be included in this Agreement by an exchange of notes between the Parties. (b) “Film” means a series of images or of images and sound, including animation and documentary productions, produced in any format, which is intended to be shown in a cinema. (c) “Co-producer” means a national or juridical person of Korea or a national or juridical person of India involved in the making of an audio-visual coproduction, or, in relation to Article 5, a national or juridical person of a third country; (d) “Juridical person” means any legal entity duly constituted or otherwise organized under applicable law, whether for profit or otherwise, and whether privately-owned or governmentally-owned, including any corporation, trust, partnership, joint venture, sole proprietorship or association or society; and

The Government of the Republic of India (hereinafter referred to as “India”) and the Government of the Republic of Korea (hereinafter referred to as “Korea”) ; hereinafter individually referred to as the “Party” and jointly referred to as the “Parties”. RECALLING Article 9.1 of the Comprehensive Economic Partnership Agreement between the Republic of Korea and the Republic of India (hereinafter referred to as “CEPA between Korea and India”) signed in Seoul on 7th August 2009, which recognizes the importance of audio-visual co-productions and envisages coproduction agreements between the Parties in the audio-visual sector; FURTHER RECALLING paragraph 2, Article 9.1 of the CEPA between Korea and India which stipulates that such an agreement is an integral part of the CEPA between Korea and India; DESIRING to expand and facilitate the co-production of audio-visual works in the context of cultural cooperation between the Parties; and CONVINCED that such cooperation will contribute to the facilitation of cultural and economic exchanges between the Parties; HAVE AGREED as follows:

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(e) “National” means : (i) for Korea, a Korean as defined in Article 2 of the Constitution of Korea and its laws; and (ii) for India, a citizen of the Republic of India. ARTICLE 2: Approval of Audio-Visual Co-Productions 1. Applications for the making of an audio-visual co-production shall be submitted to the competent authorities of the Parties. The competent authorities may, subject to this Agreement and the laws and regulations of each Party, approve applications submitted to them prior to the commencement of the shooting for the making of an audio-visual co-production. Approvals granted by the competent authorities shall be in writing and may specify the conditions upon which the approval is granted. 2. When approving an audio-visual work as an audio-visual co-production, the competent authorities shall ensure that none of the co-producers shall be linked, directly or indirectly, through legal entities with common management, ownership or control, except to the extent that it is inherent in the making of the audio-visual

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CO-PRODUCTION AGREEMENTS more co-producer(s) of India are engaged in that audio-visual co-production.

co-production itself. 3. The competent authorities of the Parties may, to the extent possible under their laws and regulations, exchange all information concerning the approval, rejection, change or withdrawal of any application for the approval of an audio-visual co-production. In this context, the competent authorities of the Parties may ensure that an audio-visual work conforms to the provisions of this Agreement. Each competent authority, in deciding whether to approve or refuse an application, shall apply the relevant laws and regulations of that Party.

2. In the case of paragraph 1, both the financial and creative contributions of one or more co-producer(s) of the third country shall, consistent with paragraph 1 of Article 4, account for at least 10 percent of the total financial and creative contribution to the co-produced audio-visual work. ARTICLE 6: Participation

5. The approval of an audio-visual work as an audio-visual co-production by the competent authorities, shall not bind the relevant authorities of either Party to permit the public exhibition or broadcast of the completed audio-visual co-production.

1. Persons participating in an audio-visual co-production shall be nationals of the Parties and in the case of a third country co-production under Article 5, nationals of the third country. 2. Notwithstanding paragraph 1, the competent authorities of the Parties may approve: (a). where the script or financing dictates, the participation of restricted numbers of performers from other countries; and (b). in exceptional circumstances, the participation of restricted numbers of technical personnel from other countries.

ARTICLE 3: Entitlement to Benefits

ARTICLE 7: Temporary Entry

1. An audio-visual co-production made in accordance with this Agreement shall be fully entitled to all the benefits which are or may be accorded to national audio-visual work by each Party under the laws and regulations of that Party.

In accordance with its laws and regulations in force, each Party shall endeavour to facilitate the entry into and temporary stay in its respective territory of the artistic and technical personnel and performers from the other Party for the purpose of the audio-visual co-production.

4. The competent authorities of the Parties may subject the audio-visual coproduction to final approval upon completion of the audio-visual co-production and prior to its distribution.

2. Any benefits accorded to an audio-visual co-production by either Party shall be administered, including in respect of the co-producer that may apply for, receive, and dispose of such benefits, in accordance with the laws and regulations of that Party. ARTICLE 4: Contributions 1. The minimum respective financial contributions to a co-produced audiovisual work other than a broadcasting programme (including animation for broadcasting purposes), of the co-producers of each Party shall not be less than 20 percent of the total production cost of the co-produced audio-visual work. With respect to a broadcasting programme (including animation for broadcasting purposes), this contribution shall not be less than 30 percent of the total production cost. Calculation of the financial contribution may include in-kind contributions. 2. The performing, technical and craft contribution (being the “creative” contribution) of each co-producer to a co-produced audio-visual work shall be in reasonable proportion to each co-producers’ financial contribution.

Notwithstanding the provisions of Chapter Two (Trade in Goods) in the CEPA between Korea and India, the Parties shall, in conformity with their respective laws and regulations, examine and endeavour to allow the temporary importation of the technical material and equipment necessary for the audio-visual co-production under this Agreement by the artistic and technical personnel and performers from the territory of a Party into the territory of the other Party. ARTICLE 9: Credits An audio-visual co-production and the advertising and promotional material associated with it shall include either a credit title indicating that the audio-visual co-production is an “Official Korea-India Co-Production” or an “Official India-Korea Co-Production” or, where relevant, a credit which reflects the participation of Korea, India and the third country co-producer, according to the origin of the majority coproducer or in accordance with an agreement between the co-producers. ARTICLE 10: Institutional Mechanism

ARTICLE 5: Third Country Co-Productions 1. Where either Party maintains with a third country an audio-visual co-production agreement (or arrangement of less-than-treaty status), the competent authorities of the Parties may approve an audio-visual work that is to be made in conjunction with one or more co-producer(s) from that third country as an audio-visual co-production under this Agreement provided that one or more co-producer(s) of Korea and one or

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ARTICLE 8: Temporary Importation of Material and Equipment for the Purpose of Making an Audio-Visual Co-production

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Competent Authorities 1. Each Party hereby designates the following competent authorities for the purposes of implementing this Agreement: (a) for Korea, the Ministry of Culture, Sports and Tourism/ the Korean Film Council (KOFIC) for films (including animation film) and the Korea Communications Commission for broadcasting programmes (including Cannes Film Market

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animation for broadcasting purposes), or their successors; and (b) for India, the Ministry of Information and Broadcasting or its successor. Either Party may change its appointed competent authority by giving notice to the other Party through diplomatic channels. The change in the competent authority shall take effect 30 days after the notice has been received. 2. The competent authorities may examine the implementation of this Agreement and consult with each other to resolve any difficulties arising out of its application. 3. Soon after the entry into force of this Agreement, the competent authorities of the Parties shall exchange their respective laws and regulations concerning the procedures and documentations necessary for approval and benefits to be accrued to the audio-visual co-production and the co-producer(s) of each Party. The competent authorities of the Parties shall periodically update such information. Ad hoc Committee 4. Either Party may request to establish an ad hoc Committee to discuss any matter related to this Agreement by delivering a written request to the competent authority of the other Party and the other Party shall give due consideration to the request. The ad hoc Committee shall comprise appropriate senior officials from the competent authorities and/ or other appropriate agencies and ministries of each Party. The ad hoc Committee shall discuss the matter at a time and place agreed to by the Parties. ARTICLE 11 Non-Application of Dispute Settlement Provisions Chapter Fourteen (Dispute Settlement) of the CEPA between Korea and India shall not apply to any matter or dispute arising under this Agreement. Any dispute arising out of the interpretation and implementation or application of any of the provisions of this Agreement shall be settled amicably through mutual discussions and dialogue between the Parties.

date of these two notifications. ARTICLE 13: Amendment 1. The Parties shall supervise and review the implementation of this Agreement and make any proposals considered necessary for any amendment of this Agreement. 2. The Parties may amend this Agreement at any time by mutual written consent. Such an amendment shall constitute an integral part of this Agreement and enter into force on such date as may be agreed upon by the Parties after the Parties have exchanged written notifications confirming to the other Party that they have completed the necessary internal legal procedures. ARTICLE 14: Duration and Termination 1. This Agreement shall be terminated when the CEPA between Korea and India is terminated. 2. Notwithstanding paragraph 1, this Agreement shall continue as if in force in respect of any audio-visual co-production approved by the competent authorities and yet to be completed prior to the termination of this Agreement. In Witness Whereof, the undersigned, duly authorized thereto by their respective Governments, have signed this Agreement. For the Republic of India

For the Republic of South Korea

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

ARTICLE 12: Entry into Force This Agreement shall enter into force once the Parties have notified each other in writing that their respective necessary legal procedures for the entry into force of this Agreement have been completed. This Agreement shall enter into force on the latter

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SPAIN

Broadcasting. b. On behalf of the Kingdom of Spain, by the Instituto de la Cinematografia y de las Artes Audiovisuales (Institute of Cinematography and Audiovisual Arts) and when applicable, the competent authorities of the Autonomous communities where applicable.

AGREEMENT OF AUDIOVISUAL Co-Production BETWEEN THE REPUBLIC OF INDIA AND THE KINGDOM OF SPAIN.

c. Co-Productions falling within the scope of this Agreement shall be subject to the approval of the competent authority. d. The Contracting parties shall inform each other if the competent authorities are replaced by others. 3. Subject to the approval of both competent authorities, a film Co-produced in compliance with this Agreement shall be deemed to be a national film in the territory of each Party and shall thus be fully entitled to all the benefits which are granted under the laws and regulations in force in the territory of each Party. ARTICLE 2 1. The Co-producer in either of the two countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, financial backing and professional reputation. 2. The Contracting Parties shall in no way be responsible or liable with regard to credentials of either of the Co-producers.

The Republic of India and The Kingdom of Spain (hereinafter, “The Parties”) Seeking to improve cooperation between the two countries in the audiovisual field: aware of the contribution which Co-Production can make to the development of the audiovisual industry. Desirous of promoting and facilitating the Co-Production of films between the two countries, and the development of their cultural and economic exchanges. Convinced that these exchanges shall contribute to improving relations between the two countries: Have agreed as follows: ARTICLE 1 In this Agreement, unless the Agreement otherwise requires: 1. A “Co-Production” is a film including feature film, documentary, and animation film irrespective of length, on any format to be shown in the first place in cinemas, jointly invested in and produced by Co-producers made in accordance with the terms of recognition given by the competent authorities of India and Spain under this Agreement. New forms of audio-visual production shall be included in the present Agreement by exchange of notes between the Parties. 2. The Competent Authorities responsible for the implementation of this Agreement shall be : a. On behalf of the Republic of India, by the Ministry of Information and 314

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ARTICLE 3 1. Before shooting starts, Co-Production films shall require approval from both the competent authorities. For this purpose, each Co-producer would be required to submit an application, alongwith the information as required in the Annexure, to the Competent Authority. Approvals shall be notified in writing and must specify the conditions according to which the approval is granted. 2. The Co-producers of a film shall have their principal office or a branch office in the territory of one of the Contracting Parties. None of the Co-producers shall be linked by common management, ownership or control. 3. Co-Productions falling within the scope of this Agreement shall be subject to the approval of both the Competent Authorities, who would take into consideration their respective policies and guidelines and the requisites laid down in Annexure to this Agreement. ARTICLE 4 1. On a general basis, in Co-Productions there must exist an effective contribution of technical, creative and artistic personnel, of the nationality of the participant countries, which must be in proportion to the financial contribution made by each Co-producer. 2. Technical and artistic personnel are those persons who, in accordance with the domestic law in force in their own country, are recognized as makers of audioCannes Film Market

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visual productions, in particular screenwriters, directors, composers, editors, directors of photography, art directors, actors and sound technicians. The contribution of each of these persons shall be evaluated individually. The contribution by a minority Co-producer will include participation of at least two actors and a head of Department in addition to an author (author means director or screenwriter or photography director or music composer). 3. Both the financial contribution and the participation of each of the Co-producers in the performing, technical, artistic and creative tasks shall represent at least 20% (twenty percent) of the budget in making the Co-Production films. 4. As an exception to the contribution rules stated in paragraph 1 & 2 of this Article, both Competent Authorities shall be able to grant approval to the Co-Production projects known as “financial Co-Productions” in which the contribution of one of the Co-producers is limited to only financing, in which case financial contribution shall be no greater than 25% (twenty five percent) nor less than 10% (ten percent) of the total cost of the film. ARTICLE 5 1. When India or Spain maintains an audio-visual Co-Production agreement with a third country, the competent authorities shall, by virtue of this Agreement, be able to approve a Co-Production project to be produced with the participation of a Co-producer from a third party, whose contribution may be no greater than 30%. 2. In the event of multilateral Co-Productions, the lesser participation may be not lower than 10 percent and the greatest one not higher than 70 percent of the cost of the film. ARTICLE 6 1. The producers of a Co-Production shall be Nationals/ citizens or permanent residents either of India or Spain subject to any sort of compliance of the obligations created by European Union upon Spain as a member. 2. Participants in the Co-Production as defined in paragraph 1 must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity. 3. Should the film so require, the participation of professionals who are not citizens of one of the Co-producing countries may be permitted, but only in exceptional circumstances, and subject to agreement between the competent authorities of both Contracting Parties. ARTICLE 7 The rights, revenues and prizes arising in connection with the Co-Production shall be shared between the Party Co-Producers in a manner that shall be agreed

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between the Party Co-producers. ARTICLE 8 1. Live action shooting and animation works such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out either in India or in Spain. 2. Location shooting of a Co-produced film, exterior or interior, in a country not participating in the Co-Production may, however, be authorized by the competent authorities of both countries if the script or the action so requires and if technicians from India and Spain take part in the shooting. 3. The processing and post-production of Co-Productions shall be done either in India or Spain, unless it is technically impossible to do so, in which case the processing and post-production in a country not participating in the CoProduction may be authorized by the competent authorities of both countries. ARTICLE 9 1. The Co-Production shall have the original soundtracks either in Hindi, or in other Indian language or dialect, or in Spanish or in any other official languages in Spain, or English language or in any combination of those permitted languages, which can further be dubbed in any of these languages. 2. In the event, if script so desires, any other language can be used for stray dialogues with permission from competent authorities. 3. It will be necessary that the dubbing or sub-titling of the Co-Production will be done or performed either in India or Spain. Dubbing or sub-titling in Indian languages should be performed in India and dubbing or sub-titling into Spanish or in any other official languages in Spain should be performed in Spain, and dubbing or sub-titling in English could be performed in India or Spain depending upon the agreement between Co-producers. ARTICLE 10 1. The Co-Production film and the promotional material associated with it shall include certain credit titles stating that the film is a “Co-Production between India and Spain” or a “Co-Production between Spain and India” or, when appropriate credit titles reflecting the participation of India, Spain and the country of a third Co-producer. 2. Prizes, grants, incentives and other benefits awarded to the Co-produced work may be shared between the Co-producers, in accordance with what has been established in the Co-Production contract and in conformity with applicable laws in force. 3. All prizes which are not in cash form, such as honorable distinctions or trophies awarded by third countries, for Co-produced work produced according to the norms established by this agreement, shall be kept in trust by the majority

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Co-producer or according to terms established in the Co-Production contract/ agreement.

3. The Joint Commission shall be convened, whether by meeting or otherwise, at the request of either of the Parties, within six months of such a request.

ARTICLE 11 1. When a Co-produced film is exported to a country, which has quota limitations:

ARTICLE 16

a. In principle, the Co-produced film shall be included in the quota of the country of the majority investment; b. If both Co-producers have made an equal investment, Co-producers of both sides shall decide the quota in question through mutual consultation, so that the Co-produced film can be included in the quota of the country that can make better arrangements for the export of the film; c. If difficulties still exists, the Co-produced film shall be included in the quota of the country of which the director is a national. 2.

for improving the effect of the Agreement and modifying the appendix hitherto as appropriate.

Notwithstanding paragraph 1, in the event that one of the Co-producing countries enjoys unrestricted entry of its films into a country that has quota regulations, a co production undertaken under this Agreement will be as entitled as any other national production of the above-mentioned Co-producing country to unrestricted entry into the importing country if that above-mentioned Co-producing country so agrees.

ARTICLE 12 For approved Co-Productions, each Contracting Party shall facilitate, in accordance with the domestic law in force in its country: a. Entry into and temporary residence in its territory for technical and artistic personnel of the other Contracting Party; b. the import into and export from its territory of technical and other filmmaking equipment and materials by producers of the other Contracting Party.

This Agreement shall come into force after each Party has informed the other Party through official diplomatic channels that its internal ratification procedures have been completed. ARTICLE 17 This Agreement may be amended by the mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through the diplomatic channel. The change shall take effect on the date specified in the note. ARTICLE 18 Any dispute between the Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation and shall not be referred for resolution to any national or international tribunal or a third party. ARTICLE 19 1. This Agreement including the Annex, which forms an integral part of this agreement, shall remain in force unless terminated in terms of paragraph (2). Either Contracting Party may terminate this Agreement by giving six months’ written notice in advance of such intention to the other Contracting Party through the diplomatic channel. 2. Notwithstanding the provisions of paragraph 1 of this Clause, this Agreement shall continue in force with regard to any Co-Production film that has received approval from the competent authorities and which has not yet been completed prior to its termination. Done at _____________on the day _________ of__________________

ARTICLE 13 Permission for public exhibition will be in accordance with local laws in both India and Spain. ARTICLE 14 Notwithstanding any other provision in this Agreement, for the purpose of taxation the laws in force in both the countries shall apply. ARTICLE 15 1. There shall exist a Joint Commission composed of representatives of the Parties, including the competent authorities and representatives of the industry.

in three originals each in Hindi, Spanish and English, all these versions being authentic. For the Republic of India

For the Republic of SPAIN

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

2. The role of the Joint Commission shall consist of supervising and reviewing the application of this Agreement, making any proposal that is amended necessarily

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Russia

ARTICLE 1 For the purposes of this Agreement the following definitions mean:

between the Government of the Republic of India and the Government of the Russian Federation on Cooperation in Audiovisual Coproduction

“film” - an audiovisual work in an artistic, documentary, nonfiction, educational, animated, TV or other form on the basis of an artistic design, consisting of images recorded on a film stock or other data storage items and connected in a thematic whole of sequentially bonded shots, designed for sensing by the appropriate technical devices and including distribution in cinema theatres; “co-produced film” - film produced by co-producers from the Parties’ States; “producer” - a natural person possessing the nationality of the Republic of India or the Russian Federation, or a legal entity located in the territory of one of the Parties’ States; responsible for film funding, production and (or) its use; “co-producers” - producers who enter into a contract for the co-production of the co-produced film and (or) its use, including taking part in its funding; “film crew / shooting team” – persons engaged / occupied in the film production; “competent authorities” - the authorities of the Parties responsible for the implementation of this Agreement. The competent authorities are: From the Indian Party - the Ministry of Information and Broadcasting of the Republic of India;

The Government of the Republic of India and the Government of the Russian Federation, hereinafter referred to as the “Parties”; Based on the Agreement between the Government of the Republic of India and the Government of the Russian Federation on cultural and scientific cooperation of January 28, 1993; In order to further expandthe cooperation between the Republic of India and the Russian Federation in the audiovisual co-production; Taking into account the contribution that joint audiovisual co-productionmakes in developing the film industry and also in strengthening the economic and cultural relations between the two countries; Desirous to promote bilateral relationship in co-production and distribution of films that can contribute to the development of the film industry of the both Parties’ States; Have agreed as follows:

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From the Russian Party - the Ministry of Culture of the Russian Federation. The Parties will notify each other of the change of their competent authorities through diplomatic channels in writing. ARTICLE 2 1. Co-produced films meeting the requirements of this Agreement are given the status of “national film” in the Republic of India and the Russian Federation. 2. The Parties shall provide the co-produced films that are given the status of “national film” with the same benefits that are provided to the national cinema in accordance with the laws of the Party’s State. 3. Terms of giving the status of “national film” to the co-produced films are defined in Annexure which is an integral part of this Agreement. ARTICLE 3 1. The decision on granting the status of “national film” to the co-produced films is taken by the competent authorities of the Parties on a case-by-case basis. 2. The decision mentioned in paragraph 1 of this Article may be annulled by the competent authorities that had taken the decision, in case the co-produced film no longer meets the requirements of this Agreement.

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ARTICLE 4

ARTICLE 8

1. Persons participating in the co-production of the co-produced film mentioned in paragraph 3.3 of Annexure refer to the following set of people:

1. Each co-produced film created under this Agreement is madeinHindi, or any other Indian language and Russian. Dialogues in other languages may also be included if it is required by the script.

a. As for the Republic of India - natural persons who have Indian citizenship or permanent residence in the territory of the Republic of India, or legal entities, approved in compliance with the legislation of the Republic of India. b. As for the Russian Federation - natural persons who have Russian citizenship or permanent residence in the territory of the Russian Federation, or legal entities, approved in compliance with the legislation of the Russian Federation. 2. Persons that do not meet the conditions of sub-paragraphs “a” and “b” of paragraph 1 of this Article may participate in the co-production of the coproduced film in exceptional cases and taking into account the requirements associated with the film, in concurrence between the competent authorities, except the director of the co-produced film. ARTICLE 5 1. The share of the financial contributions of the co-producers may range from twenty percent (20%) to eighty percent (80%) of the total budget of the coproduced film. 2. Without prejudice to the provisions of this Agreement, producer from a third country may take part in the joint production with a contribution of not more than twenty percent (20%) of the total budget of the co-produced film. ARTICLE 6 Each Party shall in accordance with the laws of their State assist the shooting team of the other Party in entering the territory of the State, as well as the temporary import and export of its equipment and materials necessary for the co-production of co-produced films. ARTICLE 7 In case the co-produced film is exported to a country where import of Audiovisual Production is restricted, the export would be regulated in the following manner: a. The co-produced film is generally included in the quota of the State with the highest proportion of participation, which is stated in the contract between the co-producers of the film; b. In the case of equal participation of the co-producers in the co-production of the co-produced film, the film is transferred to the co-producer of the State of the Party that has the most favorable conditions for exporting to the respective country. c. If the provisions of the paragraph “a” and “b” of this Article are not applicable, the co-produced film is included in the quota of the State represented by the director of the co-produced film.

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2. Co-produced films are presented with an inscription “Indian-Russian coproduction” in Indian version and with an inscription “Russian-Indian coproduction” in Russian version. Such inscription should be placed in the initial and final credits and in promotional products wherever co-produced films will be presented including participation in the international film festivals. ARTICLE 9 Co-produced films participating in international film festivals should be presented as the product of the producer with the highest proportion of participation. If the participation is equal, the film should be presented as the product of the film director. ARTICLE 10 The Parties facilitate the organization of non-profit film events (premieres, film festivals), exchange of experts in the audiovisual sector as well as mutual participation in international film festivals held in the territory of the Republic of India and the Russian Federation in accordance with the regulations of the festivals and the relevant legislation of the Parties’ States. ARTICLE 11 Any dispute between the Parties arising out of the application or interpretation of this Agreement shall be resolved through consultations and negotiations. ARTICLE 12 This Agreement may be amended by mutual consent of the Parties through an exchange of Notes between the Parties through the diplomatic channels. ARTICLE 13 The provisions for this Agreement shall function without affecting the obligations of the Parties’ States under other international treaties. In order to improve the effectiveness of this Agreement the competent authorities shall inform each other about new similar agreements signed with other countries. ARTICLE 14 1. This Agreement shall enter into force on the date of its signing. 2. This Agreement is valid for five years and shall be automatically extended for subsequent five-year periods unless either Party notifies the other in writing through the diplomatic channels of its intention to terminate this Agreement. Such notification shall be sent not later than 6 months before the expiry of the initial or subsequent period of its validity.

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3. Upon termination of this Agreement, its provisions shall apply to those joint programs and projects initiated under this Agreement that have not been completed prior to such termination. Done ___________________________ 2019, in two originals, each in Hindi, English and Russian languages. In case of divergence in interpretation, the English text shall prevail. For the Republic of India

For the Government

3.9. A valid contract for the co-production of the co-produced film and (or) its use between the co-producers. 4. The valid contract for the co-production of the co-produced film and (or) its use between the co-producers should include the following information: 4.1 The title of the co-produced film; 4.2 Names and places of residence of co-producers;

of the Russian Federation

4.3 Names and surnames of the scriptwriters and the co-produced film’s directors;

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

4.4 Film production budget with an indication of financing sources, including information about taxes, stipulated by the legislation of each Party’s State as well as the percentage distribution of the participation of the coproducers;

4.5 Procedure for distribution of income from the commercial use of the coproduced film; ANNEXURE

4.6 Time limits of the co-produced film production;

to the Agreement between the Government of the Republic of India and the Government of the Russian Federation on Audiovisual Co-production

4.7 Co-producers’ responsibility for failure of the contract;

Granting the status of a “national film” to the co-produced films. 1. This Annexure defines the order and conditions of granting the status of the “national film” to the co-produced films co-produced under the Agreement. 2. For granting the status “national film” to the co-produced film, the co-producers should apply to the relevant competent authorities at least 3. The following documents should be attached tothe application mentioned in paragraph 2 of this Annexure: 3.1. Script and synopsis of the co-produced film; 3.2. Documents providing the copyright for works if those used in the coproduced film, as well as the acquisition of rights needed for the production and commercial exploitation of the film; 3.3. List of the members of the shooting crew with specifying their citizenship and category of work, list of featured actors specifying their citizenship; 3.4. Co-produced film production schedule; 3.5. Contracts with the author of the co-produced film;

the

script

and

the

director

3.6. Constituent documents for the co-producers presented by legal entities; 3.7. Production business plan;

4.8 Stipulation that each of the co-producers is a co-owner of the co-produced film raw materials (picture and sound) wherever they are stored. The state whose producer has made the greatest amount of funding has the prerogative right on the storage of the above-mentioned materials; 4.9 Stipulation that each of the co-producers has a right to possess a copy of the co-produced film in his or her language version; 4.10 Stipulation that all mutual payments between the co-producers should be completed within 60 (sixty) days from the date of the co-produced film’s production completion, stated in the contract for the co-production of the co-produced film and (or) its use; 5. Changes to the contract for the co-production of the co-produced film and (or) its use between the co-producers should be submitted for approval to the competent authorities before the expiry of the manufacture time of the first cut of the co-produced film. 6. The contribution of each of the co-producers should include at least one unit of the staff, one of the lead actors, one minor role performer. Upon agreement of the competent authorities in exceptional cases the size of the contribution of the co-producers may be changed. 7. Granting the status of the “national film” to co-produced films shall be documented by the competent authorities by issuing a certificate of a “national film” in accordance with the legislation of the Parties’ States.

3.8. Registration certificate of the co-producers’ companies;

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UNITED KINGDOM FILM Co-Production AGREEMENT BETWEEN THE GOVERNMENT OF THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND AND THE GOVERNMENT OF THE REPUBLIC OF INDIA.

The Government of the United Kingdom of Great Britain and Northern Ireland and the Government of the Republic of India (“hereinafter called the Parties”): Considering that there is potential for the film industries of each country to work together on account of shared or complementary characteristics that include the structure of each film industry, the film culture of each country and the extent of the availability in each country of filmmaking facilities, a suitably skilled workforce and locations for filming; Recognising that development of such potential will be to the mutual advantage of each Party, in particular in respect of the growth and competitiveness of their film industries and the enhancement of their film cultures; Noting the benefits available in each country to films with national film status; Desiring to encourage the making of films that reflect, enhance and convey the diversity of culture and heritage in both countries; Acknowledging the benefits that would flow from the making of such films and their increased public availability; and Noting on the basis of mutual cooperation, the Agreement is intended to produce benefits for both parties. Have agreed as follows:

ARTICLE 1 Definitions 1. In this Agreement: “Approved Co-Production” means a Co-produced film which has Approved CoProduction status in accordance with Article 2; “Co-producer” means any individual, partnership, body corporate or unincorporated association who is a Co-producer of a film; “Competent Authority” means a government department or other body as shall be nominated by the respective Party in each country to make decisions on applications for the grant of Approved Co-Production status; “Film” includes any record, however made, of a sequence of visual images, which is a record capable of being used as a means of showing that sequence as a moving picture, and for which there is an expectation for theatrical release and public exhibition. “Indian Co-producer” means a Co-producer who is established and/or incorporated in India; and “UK Co-producer” means a Co-producer who is established and/or incorporated in England, Wales, Scotland or Northern Ireland. 2. References to filmmaking contribution benefiting the UK or India include, in particular, the expenditure in that country on goods and services which directly results from the Co-Production and the use made of filmmaking facilities or filming locations in that country. 3. Subject to Article 2(2) the Annex forms an integral part of this Agreement. Any reference to this Agreement includes the Annex. ARTICLE 2 Approved Co-Production status 1. The Competent Authorities may grant approved Co-Production status to a film which provides appropriate filmmaking and cultural benefits to the UK and India; and meets the requirements set out in this Agreement. 2. The Parties shall jointly arrive at, through a subsequent exchange of notes, a mutually agreed Annex to this Agreement. The Annex shall include requirements as to: a. the appropriate filmmaking and cultural benefits to the UK and India; b. the nature of Co-producers; c. the minimum and maximum financial contributions of Co-producers; d. filmmaking contributions of Co-producers; e. content, language, credits, locations and personnel; and f.

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any other matters that the Parties consider desirable.

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3. The Annex shall also include rules of procedures on: a. the granting of approvals of an application for Approved Co-Production status;

4. The question of which Party may claim credit for an Approved Co-Production as a national film at an International Film Festival shall be determined: a.

by reference to whichever is the greater of either: (i)

b. the withdrawal of Approved Co-Production status; c. any other matters that the Parties consider desirable.

the total financial contributions made by the UK Co-producer or Coproducers (taken together), or

4. The Annex shall include provision as to the criteria for measuring mutual benefits.

(ii) the total financial contributions made by the Indian Co-producer or Co-producers (taken together); or

5. The Annex shall enter into force as soon as the Parties have notified each other of the completion of their respective legal and constitutional procedures.

b. if the respective total financial contributions are equal, by reference to whichever of the UK or India the director of the film is most closely associated with.

6. In determining an application made to it, a Competent Authority shall apply these requirements in accordance with guidance published by the Competent Authority under this Article. 7. Each Competent Authority may from time to time publish guidance consisting of such information and advice as it considers appropriate with respect to:

Films in production before and after entry into force 1. A film shall be eligible for the grant of Approved Co-Production status even if production commenced before this Agreement entered into force, but only if: a. the first day of principal photography of the film is no more than 18 months before the date on which the Agreement enters into force, and

a. how applications are to be made to the Competent Authority, and b. the operation and interpretation of this Agreement. 8. Such guidance shall, in particular, set out: a. how the Competent Authority proposes to make decisions on applications for the grant of Approved Co-Production status, and b. factors it will take into account when exercising any discretion conferred on it by this Agreement. 9. Nothing in this Agreement binds the relevant authorities in the UK or India to permit the public exhibition of a film, which has been granted Approved CoProduction status. ARTICLE 3 Benefits 1. This Article applies in relation to any film which has Approved Co-Production status under this Agreement. 1. Each Party shall permit, in accordance with their respective legislation, including, for the UK relevant European Community legislation, temporary import and export, free of import or export duties and taxes, of any equipment necessary for the production of an Approved Co-Production. 2. Each Party shall permit any person employed in the making or promotion of an Approved Co-Production to enter and remain in the UK and India, as the case may be, during the making or promotion of the film, subject to the requirement that they comply with the legislation relating to entry, residence and employment. 3. Each Party shall treat a film falling within paragraph (1) of this Article as a national film for the purposes of any benefits afforded in that country to national films. 328

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b. production of the film is completed after the date on which the Agreement enters into force. 2. An Approved Co-Production shall continue to be eligible to receive any benefits available under this Agreement on or after the date on which the Agreement ceases to have effect, but only if: a. before that date, the Competent Authorities have given the film requisite approval for Approved Co-Production status under Article 2. b. its principal photography commenced before the date on which the Agreement ceases to have effect, and c. production of the film is completed before the end of the period of twelve months commencing with the date on which the Agreement ceases to have effect. ARTICLE 5 Review and Amendment 1. The Parties shall keep the Agreement under review and, where they consider it appropriate to do so, may recommend that changes be made. 2. The Parties shall report to the other annually in writing on the current state of the Agreement. 3. The Parties may, at any time through an exchange of mutually agreed notes, make amendments to the Agreement. 4. Any such amendment shall enter into force as soon as the Parties have notified each other of the completion of their respective legal and constitutional procedures.

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CO-PRODUCTION AGREEMENTS ARTICLE 6 International obligations 1. The provisions of this Agreement are without prejudice to the international obligations of the Parties, including in relation to the United Kingdom obligations arising from European Community law. ARTICLE 7 Entry into force 1. This Agreement shall enter into force as soon as the Parties have notified each other of the completion of their respective legal and constitutional procedures. 2. Either Party may terminate this Agreement at any time by giving at least 6 months’ prior written notice to the other Party. 3. The Agreement shall cease to have effect on the expiry of the period of notice given under paragraph (2) of this Article. IN WITNESS WHEREOF, the undersigned, being duly authorised thereto by their respective Governments, have signed this Agreement. DONE in duplicate at New Delhi this fifth Day of December 2005 in the English and the Hindi languages, both texts being equally authentic. In case of any divergence in interpretation, the English text shall prevail. For the Republic of India

For the Government of the United the Republic Kingdom of Great BRITAIN and NORTHERN IRELAND

..................................................

.....................................................................

Foreign Secretary

Secretary, Ministry of Information

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KEY FILM INDUSTRY

CONTACTS A Comprehensive List of Associations, Producers, Distributors and Service Providers across India

Contacts

Producers Guild of India

Ashutosh Gowariker Ashutosh Gowariker Productions Pvt. Ltd.

ashutosh@agppl.com, ashgow@hotmail.com,

Renu Chopra

B R Studios LLP

renuchopra@brfilms.in

Abhay Chopra

B. R. Films / B. R. Films Pvt. abhaychopra@brstudios.in Ltd. / B. R. TV

Santosh Kumar Garg

B4U Broadband (India) Pvt. Ltd.

santosh.garg@b4uworld. com

Name

Production House / Banner

Email Address

Ekta Kapoor

Balaji Telefilms Ltd. / Balaji Motion Pictures Ltd.

chloeferns@yahoo.com

A.G. Nadiadwala

A.G. Vision LLP

aggroup@hotmail.com

Janani Ravichadran

janani@bandrawest.in

Aamir Khan

Aamir Khan Productions Pvt. Ltd.

rao@akpfilms.com; shamath@akpfilms.com

Bandra West Pictures Pvt. Ltd.

Umesh Shukla

Benchmark Pictures

Avinash Pandey

ABP Creation Pvt. Ltd.

avinashp@abpnetwork.com

benchmarkpictures@gmail. com

Vikram Malhotra

Abundantia Entertainment Pvt. Ltd.

vikram.malhotra@ abundantiaent.com

Sanjay Leela Bhansali/Prarna Singh

Bhansali Productions Pvt. Ltd.

prernasingh@ bhansaliproductions.com

Manmohan Shetty/ Pooja Shetty Deora/ Aarti Shetty

Ad-Labs Films Ltd.

manmohanshetty@ imagicaaworld.com; pooja. shetty@adlabsfilms.in; aarti.shetty@adlabsfilms.in;

Vipul Amrutlal Shah

Block Buster Movie Entertainers

vipul_a_shah@hotmail.com

Boney Kapoor

BSK Network and Entertainment Pvt. Ltd.

achalboneykapoor@gmail. com

Sunil Doshi

Alliance Media & Entertainment Pvt. Ltd.

sunil.doshi@alliancemedia. in

Rohit Khattar

Cinestaan Film Company Pvt. Ltd.

rohit.khattar@ cinestaanfilmcompany.com

Gaurav Gandhi

Amazon Seller Services Private Limited (Prime Video)

ggandhi@amazon.com

Anushka Sharma / Karnesh Sharma

Clean Slate Films Pvt. Ltd.

karnesh@cleanslatefilms.in

Anand Pandit

Anand Pandit Motion Pictures (Division of AKP Holding Pvt. Ltd.)

ap@lotusdevelopers.com

Rashmin Majithia

Coconut Motion Pictures

rashmin@zengroup.co.in

Dheeraj Kumar

Creative Eye Ltd.

dheerajcel@yahoo.co.in

Dino Morea

D M Movies Pvt. Ltd.

Applause Entertainment Pvt. Ltd.

sameer.nair@applause. adityabirla.com

dino@dmmovies.com, idinomorea@gmail.com

Dashami Studioz LLP

Applause Productions - A Unit of Applause Entertainment Pvt Ltd

siddharth.khaitan@ applause.adityabirla.com

Nitin Vaidya/Ninad Vaidya

nitin@dashami.com, ninad@dashami.com

Apoorva Mehta / Karan Johar

Dharma Productions Pvt. Ltd.

apoorva@dharmaproduction.com

Aradhana Films

samantamovies@gmail.com

Karan Johar

Dharmatic Entertainment Pvt. Ltd.

apoorva@dharmaproduction.com

Venkataramana Reddy

Dilraju Productions LLP

kuldeep@ dilrajuproductions.com

Sameer Nair Shiddharth Khaitan

Ashim Samanta

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Contacts

Rajan Shahi

Director's Kut Production

shahirajan@yahoo.co.in

John Abraham

Umesh Mehra

Eagle Films Pvt. Ltd

umeshmehra.mehra@gmail. com

amarbutala@gmail.com

Emkay Films Pvt. Ltd

emkayfilmspvtltd@yahoo. co.in

Amar Butala/Sheela Jai Ho Media LLP Butala Amrita Pandey

Junglee Pictures Limited

Emmay Entertainment & Motion Pictures LLP

nikkhiladvani@gmail.com, madhubhojwani@emmay. com, monisha.advani@ emmay.com

amrita.pandey@timesgroup. com

Deepika Padukone/ Anisha Padukone

KA Productions LLP.

anishapadukone2@gmail. com

Kamal Jain

Kairos Kontent Studios Pvt. Ltd.

kjainone1@gmail.com

Aditya Singh

Karma Media and Entertainment LLP

adityaasingh77@gmail.com

Sheel Kumar

Kino Works LLP

sheel1002@gmail.com, sheel@kinoworks.in

Nikkhil Advani / Madhu Bhojwani

J A Entertainment Pvt. Ltd.

arafat@johnabrahament. com

Sunil Lulla

Eros International Media Ltd.

sunil.lulla@erosintl.com

Farhan Akhtar / Ritesh Sidhwani

Excel Entertainment Pvt. Ltd.

Ritesh@exlent.com

Rakesh Roshan

Filmkraft Productions (India) Pvt. Ltd.

mail@filmkraftproductions. in, shashankjare@yahoo. com

Hyunwoo Kim

Kross Pictures India Pvt. Ltd.

thomas@krosspic.com, shreekantpol@gmail.com

Amit Khanna

Filmunit

amitfilm@gmail.com,amit@ amitkhanna.in

Yogesh Lekhraj Manwani

Lintas Creative Executions Private Limited

Yogesh.manwani@lintascex. in

Filmyug Pvt. Ltd.

shashankjare@yahoo.com

Rohit Jain/Isha Rathnam

Lions Gate India LLP

rjain@lionsgate.com, irathnam@lionsgate.com

Fox Star Studios (A Division of Star India Pvt. Ltd.)

anahitab@in.foxstarstudios. com

Sunder Aaron/ Scott Locomotive Global Media Anderson/ LLP

Ajay Goel

Goel Cine Corporation

hulloajay@yahoo.com

sunder@locomotivefilms. com, Scott@ locomotiveglobal.com

Amar Butala/ Garima Mehta

Guilty By Media Association amarbutala@gmail.com, LLP gm.garima@gmail.com

Vikram Bhatt

Loneranger Productions Pvt. Ltd.

vikrampbhatt@gmail.com

Ketan Anand

Himalaya Films

kunkianand@gmail.com

Luv Ranjan/Ankur Garg

Luv Films LLP

ankur@luvfilms.in

Neeraj Roy

Hungama Digital Media Entertainment Pvt. Ltd.

neeraj@hungama.com

Aashish Singh

Lyca Productions Private Limited

Aashish.Singh@ lycaproductions.in

Sheetal Talwar

Indus Stories LLP

sheetal@vistaar.bz

Dinesh Vijan

Maddock Films Pvt. Ltd.

ca.kunjalpunamiya@gmail. com

Arun Pandey

Inspired Entertainment Pvt. Ltd.

arunpandey@rhitisports. com

Annapoorna Virdi

Manzar Studios Pvt Ltd

annapoorna.virdi@ manzarstudios.com

Kamayani Punia Sharma

Intercut Entertainment Pvt. Ltd.

kamayani.punia@ icepictures.net

Ashok Thakeria

Maruti International

marutipictures@gmail.com

Sanjay Sawant

IVY Entertainment Pvt. Ltd.,

sanjay.sawant@ ivyentertain.com

Ashim Sen

Masen Production Pvt. Ltd.

ashims@masengroups.com

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Contacts

Shaukat Khan

Mehboob Productions Private Ltd.

mppl786@gmail.com

Randhir Kapoor

R. K. Films & Studios / R. K. Films & Studios Pvt. Ltd.

randhirkapoor@rkfilms.net

Milan Luthria

Milan Luthria Films Pvt. Ltd.

luthriamilan@gmail.com

Ramesh Sippy

R. S. Entertainment Pvt. Ltd.

rsaceprint@gmail.com

Uday Singh

MPA - 1 (Motion Pictures Association)

Uday.Singh@singularpics. com

munnish.puri@rainshine. com

Subhash Ghai

Mukta Arts Limited

sgmukta1@gmail.com

Neeraj Bhargava/ Rainshine Entertainment Anuraag Srivastava/ Pvt. Ltd., Munnish Puri

Sajid Nadiadwala

Nadiadwala Grandson Entertainment Pvt. Ltd.

sajid.nadiadwala@gmail. com

Kamal Kumar Barjatya

barjatya@rajshri.com, ramanathan@rajshri.com

Nuzhat Khan

Nasir Husain Films Pvt. Ltd. nasirhusainfilms@yahoo. com

Suneil Anand

Navketan International Films /Navketan (1978) / Navketan Films

suneilanand7@gmail.com

Asitkumarr Modi

Neela Telefilms Pvt. Ltd.

asitmodi@neelatelefilms. com

Ambika Khurana

Netflix Entertainment Services India LLP

akhurana@netflix.com

Himanshu Mehra

Offside Entertainment LLP

himanshumehra@gmail. com

Vipul D. Shah

Optimystix Entertainment India Pvt. Ltd.

Tapasee Pannu/ Pranjal Khandhdiya Madhu Mantena

Rajshri Pictures Pvt. Ltd.

Rakeysh Omprakash Rakeysh Omprakash Mehra Mehra Pictures Pvt Ltd.

rom@romppictures.in

Shah Rukh Khan/ Venky Mysore

Red Chillies Entertainments Pvt. Ltd.

venkymysore@redchillies. com

Shibasish Sarkar

Reliance Entertainment - Division of Reliance Big Entertainment Pvt. Ltd.

Shibasish.Sarkar@ relianceada.com

Dipti Kotak

Reliance Industries Ltd.

dipti.kotak@ril.com

Om Prasad/Rajesh Nair

Retrophilers Pvt. Ltd.

rajesh@retrophiles.in,

RH Films LLP

vipuls@optimystix.tv

Rajkumar Hirani/ Sahil Khosla

raju@rajkumarhirani.com, sahil@rajkumarhirani.com

Shoojit Sircar

Rising Sun Films Pvt. Ltd.

risingsunfilms@gmail.com

Outsiders Films LLP

taapseepannu@gmail.com, pranjal@mangopeople.co.in

Goldie Behl

Rose Audio Visuals Pvt. Ltd.

Phantom Films Pvt. Ltd.

madhu@Phantoms.in

gbehl@roseaudiovisuals. com

puneetmehra@gmail.com

Roy Kapur Productions Pvt. Ltd.

sid@roykapurfilms.com

Prakash Mehra Pictures P. Ltd.

Siddharth Roy Kapur Romu N Sippy

Rupam Pictures Pvt. Ltd.

romu@mail.com

Prateek Chakravorty

Pramod Films

pramodfilms29@gmail.com

Prem Sagar

Sagar Entertainment Ltd.

premsagar@sagartv.com

Ramesh Prasad/J Naidu

Prasad Productions Pvt. Ltd.

jnaidu@pdfl.in

Salman Khan

Salman Khan Ventures Pvt. Ltd.

info@skvonline.com; khanoffice27@gmail.com

Pritish Nandy/ Pallab Bhattacharya

Pritish Nandy Communications Ltd.

pallab@pritishnandycom. com

Siddharth Anand Kumar

Saregama India Limited

siddharthanand.kumar@ rpsg.in

Ajay Bijli/Kamal Gianchandani

PVR Pictures Ltd.

kamal.gianchandani@ pvrpictures.com

Rajnish Khanuja

Select Media Holdings LLP

rajnish@selectmedia.in

Zama Habib

Qissago Telefilms LLP

qissagotelefilms@gmail.com

Raj Kumar Kohli

Shankar Movies

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Contacts

Hiren Gada

Shemaroo Entertainment Ltd.

hiren@Shemaroo.com

Ramesh Taurani

Tips Industries Ltd.

rtaurani@tips.in

Shiamak Davar

Shiamak Davar Institute for Performing Arts Pvt. Ltd.

shiamak.davar@shiamak. com

Rajiv Rai Sachdev

Trimurti Films Pvt. Ltd.

info@trimurtifilms.com

Shyam Benegal

Shyam Benegal Sahyadri Films

sbenegal@gmail.com

Tusshar Kapoor

Tusshar Entertainment House

deepoo_v@rediffmail.com; tusshark89@gmail.com

Manish Goswami

Siddhant Cinevision Pvt. Ltd.

mg@scvl.in

Pramod Gupta/ Aditi Gupta/Chndni Dabas

TV Today Network Ltd

Pramod.Gupta@intoday. com, aditi.gupta@aajta.com, Chandni.dabas@aajtak.com

Guneet Monga

Sikhya Entertainment Pvt. Ltd.

guneet@sikhya.in

Govind Nihalani

Udbhav Dreamzone Pvt. Ltd. govindnihalani@gmail.com

Sippy Films Pvt. Ltd.

subhash@sippyfilms.com, subhashparsekar@hotmail. com

Rajesh Mishra

UFO Moviez India Limited

rajesh.mishra@ufomoviez. com

Soham Rockstar Entertainment

deepakmukut@ sohamrockstar.com

Sushilkumar Agrawal

Ultra Media & Entertainment Pvt. Ltd.

ceo@ultraindia.com

Deepak Mukut

Rohinton Screwvala

Unilazer Ventures Pvt. Ltd.

accounts@unilazer.com

Fazila Allana

SOL Production Pvt. Ltd.

fazila@solworld.net

Sony Pictures Films India Pvt. Ltd.

vivek_krishnani@spe.sony. com

Vinod Chopra/Anu Chopra

V C Films LLP

Vivek Krishnani

vinod@vinodchopra.com; anu@vinodchopra.com; abhishek@vinodchopra.com

N P Singh

Sony Pictures Networks India Pvt. Ltd.

Np.Singh@setindia.com

Sunjoy Waddhwa

Sphereorigins Multivision Pvt. Ltd.

sunjoy@sphereorigins.com

Sandeep Jain

Star India Pvt. Ltd.

sandeep.jain@startv.com

Ayan Mukerji

Starlight Pictures Pvt. Ltd.

Subhash Mukerji

V R Pictures Kiran V Shantaram

V Shantaram Productions Pvt. Ltd.

kiran@rajkamalstudio.com

Vaibhav Anand

Vaibhav Vijay Anand Pictures

vijayanandproductions@ gmail.com

boydreaming@gmail.com

Ajit Andhare

Viacom 18 Motion Pictures/ Viacom 18 Media Pvt. Ltd.

ajit.andhare@viacom18.com

Subodh Mukerji Productions

sreeti315@gmail.com

Vidhu Vinod Chopra Vinod Chopra Productions

vinod@vinodchopra.com

Bhushan Kumar/ Mukesh Desai

Super Cassettes Industries Pvt. Ltd.

bhushankumar@tseries.net, mukeshdesai@tseries.net

Vishal Bhardwaj

Vishal Bhardwaj Pictures Pvt. Ltd.

vbpictures@gmail.com

Rahul K Tewary/ Siddharth K Tewary

Swastik Productions Pvt. Ltd.

rkt@swastikproductions. com, skt@ swastikproductions.com

Mukesh Bhatt

Vishesh Fims Pvt. Ltd. / Vishesh Entertainment Pvt. Ltd.

contact@visheshfilms.com

Shivani Saran

Terrapin Films LLP

shivani@mutantfilms.in

Vishesh Bhatt/ Sakshi Bhatt

Vishesh Muisc Pvt. Ltd.

vb@visheshfilms.com/sb@ visheshfilms.com

Zoya Akhtar/Reema Kagti

Tiger Baby Digital LLP

reemakagti@gmail.com; zoyaakhtar@gmail.com

Sheetal Talwar

Vistaar Entertainment Ventures Pvt. Ltd.

sheetal@vistaar.bz

Tilak Movies Pvt. Ltd. 338

India Film Guide 2022

Cannes Film Market

339

Contacts

Film Federation of India

Associations & Industry Bodies Film Federation of India

supransen.filmfed@hotmail. com

neerja.bhattia@cii.in

The South Indian Film Chamber of Commerce

sifcc1939@gmail.com

Federation of Indian Chambers of Commerce and Industry Confederation of Indian Industry Service Exports Promotion Council

340

Production House / Banner

Email Address

Executive Committee Members

Producers Guild of India

Indian Council of IMPEX for films and TV Programmers

Name

Shri S. Thanu

M/s. V. Creations

Shri C. Kalyan

filmexporters@gmail.com

ckalyan778@gmail.com

Shri Nitin N. Datar

Cinema Owners & Exhibitors Association of India

udaychitra.datar@gmail. com

Shri N. M. Suresh

M/s Tulajabhavani Creations

excusemenmsuresh@gmail. com

Shri Bajrang Lal Agarwal

leena.jaisani@ficci.com

nitin@producersguildindia.com

dg@servicesepc.org

India Film Guide 2022

vcreationsthanu@gmail. com

channelbindia@hotmail. com

Shri Sakshi Mehra

M/s. Rachna Enterprises

sakshimehra@rediffmail. com

Shri S. S. T. Subramaniam

M/s. Evershine Release

evershinemani@gmail.com

Shri Sabu Cheriyan

M/s. Ananda Bhairavi

mcsabu@gmail.com

Shri Meghraj RajeBhosale

mrb.abmcm@gmail.com

Shri Ravi Kottarakara

kotfilm@gmail.com

Shri Dharmindra Mehra

dharammehra63@gmail. com

Cannes Film Market

341

Contacts

Shri Sangram Shirke

Shiv Sena Chitrapat Sakha

Shri Sandeep Marwah

Asian Society of Film and Television

Shri Firdausul Hasan

M/s. Friends Communication

sangram_s01@rediffmail. com

Shri A. Ganesh

M/s Megh Hit Productions

aganeshproducer@gmail. com

sangram.shirke01@gmail. com

Shri M. Narasimhalu

M/s. Balaji Digi Studio

karisubbu@gmail.com

sandeepmarwah@aaft.com

Shri Sony Thomas John

M/s. Ganam Theatre

sonythomas022@gmail.com

friendscomm_2005@yahoo. com

Shri G. D. Mehta

firdausulhasan123@gmail. com

Shri Tapan Roy

tapanroy51@gmail.com

Ms. Satarupa Sanyal

satarupasanyal@yahoo. co.in

Shri R. P. Anand

Cinema Owners & Exhibitors Association of India

jaisal.anand@gmail.com

Shri Ramesh Tekwani

Docs & Shorts

ramesh.tekwani@gmail. com

Shri Jaguar Thangam

Film and Television Producers' Guild of South India

Shri Nishant Ujjwal

M/s. Prashant Nishant Motion Pictures

prashantnishant.filmpro@ gmail.com

C/o. M/s. C M Enterprises

abhaysinha181@yahoo.com

Shri Abhay Kumar Sinha Shri Ashoke Pandit

bobbyartdelhi@yahoo.co.in

Shri Surinder Paul

Motion Pictures Association

filmjagat@yahoo.co.in

Shri Joginder Mahajan

Motion Pictures Association

jogindermahajan@yahoo. co.in

Shri Harinder Singh

Motion Pictures Association

harindersingh13@hotmail. com

Shri Rajendar Singh

Motion Pictures Association

rajendarsingh@hotmail. com

Mr. Deependra Mohota

Sikkim Film Cooperative Society Ltd.

deependramohora@gmail. com

Mr. Sanjay Wadhwa

C/o. South Indian Film Exporters Asso.

sanjay@ apinternationalfilms.com

Shri K. S. Rama Rao

ashokepanditprod1@gmail. com

ksramarao45@gmail.com

Shri K L. Damodar Prasad

M/s. Sri Ranjit Movies

damukanuri@yahoo.com

Shri T. Prasanna Kumar

M/s. Sri Venkateswara Films Division

tummalaprasannakumar@ gmail.com

Shri C. Bharath Chowdary

M/s. CBC Entertainments

cbcentertainments@gmail. com

M/s. Sri Lakshmi Rama Picture House

ramprasad81433@gmail. com

Shri Surendra Verma

tinnuverma59@gmail.com

Shri T. S. Ramprasad

Shri Atul P. Patel

modernmovies@gmail.com

Shri Balagovind Raj Tadla

M/s. Sudershan 35MM Theatre

rajtadla@gmail.com

Shri Yusuf Mehboob Shaikh

Shri K. Basi Reddy

M/s Digiquest India Ltd.

basi@digiquest.in

yusufmshaikh@gmail.com nrpachisia@gmail.com

M/s. Telug Film Producers Council

mohanmedia@gmail.com

Mr. Vijay Galani

Shri Mohan Vadlapatta

342

India Film Guide 2022

Cannes Film Market

343

Contacts

Shri Katragadda Prasad

katragaddaprasad1951@ gmail.com

Shri Thomas D'souza

roydondza@gmail.com

Shri B. Shashikumar

M/s. Mudra Arts

geets8@yahoo.com

Shri K. Nanda Kumar

M/S. United Film Exhibitors

Kaimalnandu@gmail.com

Shri L. Suresh

ANANDA

suresh.laxmanan@gmail.com

nandu_kaimal@vsnl.com

Associations Affiliated to Film Federation of India Association

Contacts

sharma.301214@gmail.com

Akhil Bharatiya Marathi Chirapat Mahamandal

abmcmmumbaioffice@gmail. com

threed256@gmail.com

Asian Society of Film and Television

help@aaft.com

Bengal Film And Television Chamber of Commerce

bftcc.kolkata@gmail.com

Central Circuit Cine Association

cccaindore@live.in / cccaindore@rediffmail.com

Shri Javed Akhtar

Chamber of Movies & TV Programme Producers

cmtpp.delhiindia@gmail.com / rcgarg1@rediffmail.com

Shri Madhu Mantena

Cinema Owners & Exhibitors Association of India

cinema.mumbai@gmail.com

Shri Siddharth Kumar Tewary

Docs & Shorts

docsandshorts@gmail.com

Film Makers Combine

filmmakerscombine1989@gmail. com

Film & Television Producers Guild of South India

guildsouth1234@gmail.com

Mrs. Anjana Sharma Shri Dilip Dalvi

Shiv Sena Chitrapat Sakha

ddalvi55@yahoo.com manjupatraborah@gmail. com

Ms. Manju Borah

Associate Members Shri Salim Khan

Shri Y. Sreenivas

344

3, Galaxy Apts

yagnamurthys@yahoo.co.in

India Film Guide 2022

Cannes Film Market

345

Contacts

Indian Council of Impex for Films and TV Programmers

filmexpoters@gmail.com / filmexpo@yahoo.co.in

Indian Motion Picture Producers Association

imppa1937@gmail.com

Kannada Film producers Association

kfpa82@gmail.com

Karnataka Film Chamber of Commerce

karnatakafilmhouse@yahoo.com

Motion Pictures Association

mpa.delhi@gmail.com

South Indian Film Exporters Association

VFX, Animation & Post Production Companies Name

Category

Organisation

sifeachennai1@gmail.com

Rakesh Patil

Animation

88 Pictures

rakesh.patil@88.pictures

Tamilnadu Film Chamber of Commerce

ccfea1976@gmail.com

Manish Rajoria

Animation

Aadarsh Pvt Ltd

manish.rajoria@ aadarsh.com

Telugu Film Chamber of Commerce

info@telugufilmchamber.in

Narayan Talukdar

Animation

Aats Animation Studio

narayan@ aatsanimation.in

Telugu Film Producers Council

tfpchyd@gmail.com

Balasubramanian

Animation

AB FRAMES

The Kerala Film Chamber of Commerce

kfccekm@gmail.com

techheadadyar@gmail. com

Abis Rizvi

Animation

Abis Rizvi Films

The South Indian Film Chamber of Commerce

sifcc1939@gmail.com

arf@rizvi.com; abis@rizvi.com; kapillimbad@gmail.com

Abhaykumar Naresh Kumar Gupta

Post Production Studios

Aby Muzik & Entertainment

njmandco@yahoo.com

Anil Sharma

Animation

Academy of Animation & Gaming

anil.sharma@aag.edu.in

Malcom Mehta

Animation

Accel Animation Studios

nagaraj.v@ accelfrontline.com

Anuraag Agarwal

Animation

ACK Media Pvt Ltd

anuraag.agarwal@ackmedia.com

Western India Film Producers Association

346

wifpa_2006@yahoo.co.in / wiftpa1960@gmail.com

India Film Guide 2022

Cannes Film Market

347

Contacts

Name

Category

Organisation

Name

Category

Organisation

Rajshekhar Y

Animation

Adimaya Animations Pvt Ltd

rajshekharr21@gmail. com; enquiry@adimaya. com; rajshekhar@ adimaya.com

Anil Wanvari

Animation

Animation Xpress India Pvt. Ltd.

anilanimationxpress@ gmail.com; ; aniltelevision@gmail. com

Gagan Meshram

Post Production Studios

After Studio

gagan@after.studio

Sowjanya Karempudi

Animation

Animationsutra. com

reach@animationsutra. com

Rahul Sumra

Post Production Studios

After Studio

rahul@after.studio

Niloy KantiViswas

Animation

Animetzione

viswasniloy@yahoo. co.in; artistniloy@gmail. com

Hanif Mohammed

Animation

Aiga Institute

hanif@aiga.in

Thampy Mathew

Animation

Aptech Ltd

easom@aptech.ac.in

Mayuri Raghani

Animation

Akki Productions Pvt Ltd

akkifilms@rediffmail. com

Ninad Karpe

Animation

Aptech Ltd

ninadk@aptech.ac.in

Arun Kumar

Animation

Arena Animation

aksarun07@gmail.com

Sumeet Shrivasatava

Animation

Anena Animation Andheri

sumeets@arenaandheri. co.in

Ramesh Ruia

Animation

Arena Animation

rkruia@vsnl.com

Shobu Yarlagadda

Animation

Saurabh Dalmiya

Animation

Anibrain Digital Technologies

saurabh@anibrain.com

Arka Mediaworks Pvt Ltd

shobuy@ arkamediaworks.com

Anjali Shekhawat

Animation

Arvind Studios

rhythmmus@gmail.com

Akshay Agarawal

Animation

Anibrain School of Media Design

akshayagrawalis4u@ gmail.com

C Prakash

Animation

prakash.cavale@gmail. com

Chetan Sharma

Animation

Animagic India

chetan.animagic@gmail. com; animagicsfx@ gmail.com

Association of Bangalore Animation Industry

Mahesh Tayade

Animation

Astitva Animations

info@astitvaanimations. in

Pankaj Sharma

Animation

ASTUTE MEDIAVISION

astutemedia@ yahoo.com; pankaj@ astutemediavision.com

Vivek Bolar

Animation

AUM Animation Studios Pvt LTD

vivek.bolar@ aumanimation.com

Niraj Mundra

Post Production Studios

Aum Creations Mumbai

nirajmundra@ rediffmail.com

Alok Sharma

Animation

Autodesk India Pvt Ltd

alok.sharma@autodesk. com

Bhanu Pratap Singh

Animation

Animaster

bps@animaster.com

Mukesh Dubey

Animation

Animation Galaxy

mukesh@ animationgalaxy.in

Raju B

Animation

Animation India

animationindia@yahoo. com

Rakesh Renukuntla

348

Animation

ANIMATION SUTRA

rakesh@ animationsutra.com; rakesh.renukuntla@ gmail.com

India Film Guide 2022

Cannes Film Market

349

Contacts

Name

Category

Organisation

Name

Category

Organisation

Rohit Chhabra

Animation

Autodesk India Pvt Ltd

rohit.chhabra@ autodesk.com

Abhimanyu Singh

Animation

Contiloe Entertainment

abhimanyu@contiloe.in

Pradeep Jain

Post Production Studios

Avitel Post Studioz Ltd

pradeepjain@ avitelstudioz.com

Ajay Adiseshann

Animation

Coruscant Tec

ajay@coruscant.co.in; sunita@paymate.co.in

Ankur Bhasin

Animation

Bhasinsoft India Ltd

ankur@bhasin.in

Kamal Pahuja

Animation

Crazy Cub Animation Studio Pvt Ltd

kamalpahuja@ crazycubanimations. com

Atul Vohra

Animation

Big Animation India Pvt Ltd

atul.vohra@relianceedu. com

Rufina Fernandes

Animation

Crest Animation Studios Ltd

rufina.fernandes@ crestindia.com

Vnoth Kumar S

Animation

BigWig Animation Studios

admin@ bigwiganimationstudios. com

Animation & VFX

Creative Multimedia Services

hr@bestmultimedia. com

Nishith Takia

Animation

Bioscopewala Pictures

nish.takia@gmail. com; nish.takia@ bioscopewalapictures. com

Geeth Vaz

Animation

CreedCap

geeth@creedcapasia. com

Seema Ramanna

Animation

Crest Animation Studios Ltd

seemar@crestindia.com; yukag@crestindia.com

Shashwat Mudgal

Animation

DarkWhite Productions

shashwatmudgal@ gmail.com

Prafull Gade

Animation

Digicaptions India Pvt Ltd

prafull.gade@bydeluxe. com

Rajeev Kumar

VFX

Digikore Studios

rajeevkumar2123@ gmail.com

Abhishek More

VFX

Digikore Studios Ltd.

abhishek@digikore.com

Ajay Parge

VFX

Digital Art VRe

ajayparge@gmail.com

Maheel Pal

VFX

Digitalcaly Studios

maheepal@gmail.com

Abhishek Chandra

VFX

Digitales Studios

abhishek@ digitalesstudios.com

Venurao Dindi

VFX

Dindiwood Studio

venunow@gmail.com

Ambar Nair

Animation

Blowfish FX

anair@blowfishfx.com; ambar@bfxcgi.com

Vijayalakshmi N S

Animation

BMS Creative Media

viji@bmscms.com

Prabir Samanta

Animation

Bob Animation

bobanimation@gmail. com

Utkarsh Shukla

Animation

BTPL Tech

utk.shukla@gmail.com

Gaurav Malhotra

Animation

Chocolate Moose Media

gaurav@ arthaanimation.com

Sumit Kansara

Animation

Classic Animation Studio

sumit@ classicanimationstudio. com

Kireet B Khurana

Animation

Climb Media India Pvt Ltd

kireet@climbmedia.com

Renuka Khekade

Animation

Climb Media India Pvt Ltd

renuka@climbmedia. com

Devika Prabhu

VFX

Disney India

Devika.Prabhu@disney. com

Saurabh Chakravarti

Animation

Collective Art P Ltd

saurabh@collective-art. com

Somesh Paliwal

Animation

DMP Animations Media Pvt Ltd

somesh.paliwal@gmail. com

350

India Film Guide 2022

Cannes Film Market

351

Contacts

Name

Category

Organisation

Name

Category

Organisation

Tapaas Chakravarti

Animation

DQ Entertainment International Limited

shruti@ dqentertainment.com

Saurabh Lakshakar

Animation

Famous Digital Studio Pvt Ltd

saurab@famousstudios. com

Yugandhar Tammareddy

Animation

DQ Entertainment Intl.

yug@eqentertainment. com; helloyug36@gmail. com

Yoshihiko Shinod

Animation

Famous House Of Animation

shinod@ famousanimation.com

Anant Roongta

Animation

Famous Studios Ltd

Dinesh Kulkarni

Animation

Dream Mine Animations

r@dreamsmine.com

anantr@famousstudios. com; anant.roongta@ gmail.com

Alpa Thakkar

Post Production Studios

Dream Tone Studio

dreamtonestudio@ gmail.com

Vivek Yagnik

Animation

Flickr Animation Studios

vivek.yagnik@ cornershop.esselgroup. com

Deepak S Jadhav

VFX

Dreams Pvt Ltd

deepak@dreams.net.in

PRATEEK NANDAN

Foster Black Music And Production

fosterblack1829@gmail. com

Anand Menon

Animation

Early Man Films

anand@earlymanfilm. com

Post Production Studios

Naveen Gupta

Animation

Frameboxx

Jackson Antony

Post Production Studios

Eclipse Media & Entertainment

mr.antonyjackson@ gmail.com

naveen@frameboxx.in, supreet@frameboxx.in

Deepak Dhawan

Animation

deepak@frameboxx.in

Shamal Sarfare Tehzeeb Khurana

VFX

Ecole Mondiale Toon Club

tehzeeb@toonclub.net

Frameboxx Animation I Visual Effects

Sharib Raza

Animation

Eden Animation Studio Pvt Ltd

dj@edenhitech.com

Full Frame Entertainment

sharib@fullframe.co.in

Dinesh Jain

Post Production Studios

Vikas Tomar

VFX

Educomp Raffles Higher Education Ltd

vikas.tomar@ educompraffles.com

S P Naveensundhar

Animation

FX School

menaveen19@gmail.com

Buckley Collum

Animation

Geon Studios Pvt Ltd

stephen@geon.in; buckley@geon.in

VP Mishra

Post Production Studios

ENZY Studios

v.mishra@envystudios. com

Yunus Bukhari

Animation

Geon Studios Pvt Ltd

yunus@arteryfx.com

Diju Sathya

Animation

Epica Studio Pvt Ltd

diju@ariespecia.com

Anuj Kumar

Animation

Girgit Studios

anuj.kumar@ girgitstudios.com

Armin Chatterjee

Animation

eQuinoxx Animation Visual Effect

arminvfx@gmail.com

Avinash Medhe

Animation

Girgit Studios

avinash.medhe@ girgitstudios.com

erode.image@gmail.com

Post Production Studios

Global Infotainment Pvt Ltd

videoglobal@gmail.com

Erode Image

Michael Rayappan Siluva

Anbarasu P

352

Animation

India Film Guide 2022

Cannes Film Market

353

Contacts

Name

Category

Organisation

Name

Category

Organisation

Sanjeev Duggal

Animation

Global Institute of Gaming and Animation

petersebastian@ everonn.com

Goutham Dindukurthi

Animation

Holy Cow Productions

goutham@holycowprod. com

Rebatikanta Chand

Animation

Golden Robot Animation

chand@goldenrobot.in

Anish Patel

Animation

HopMotion Animation Pvt Ltd

anish@hopmotion.com

Jeevan Kang

VFX

Graphic Digital Private Limited

Jeevan@Graphicindia. com

Harkirat Singh Lal

Post Production Studios

HSL Studios

hslstudios.mumbai@ gmail.com

Sharad Devarajan

VFX

Graphic India

sharad@graphicindia. com

B Raja Sekhar

Animation

Hyderabad Animations Pvt Ltd

Munjal B Shroff

Animation

Graphiti Multimedia Pvt Ltd

munjal@graphiti.net; graphiti@graphiti.net; shroffmunjal@gmail. com

sekharbr@hotmail.com; raja@bestmultimedia. com

Divesh

Animation

I Realities

divesh@iriplco.com

Ashwin Ajila

Animation

i-Nurture Education Solutions Pvt Ltd

ashwin@inurture.co.in

Rmama Krishna Polina

Animation

IACG

rk@iacg.info

Mounica

Animation

Icat

johpaul@icat.ac.in

Navinder Kaur

Animation

Icat design and media college

navinder@icat.ac.in

A Mohanty

Animation

Icon Content

amohanty@iconcontent. com

Rajkamal

Animation

Image Creative Education

kamal92bu@gmail.com

AdarshK Jain

Animation

Images Chain Animations India Pvt Ltd

adarshkjain@ imageschain.in

Srinivas Mohan

VFX

Indian Artists Computer Graphics

mohanvsm@gmail.com

Chetal Abidi

Animation

iNurture Education

chetal.g@inurture.co.in

Nupur

Animation

Invisible Rabbit

nupur@invisiblerabbit. in

Prasad Ajgaonkar

Animation

iRealities Technology Pvt Ltd

ceo@iriplco.com

Tejbal Singh

Animation

Graphiti School of Animation

tejbal.s@graphite.net

Surajit Majhi

VFX

Graphixstory Private Limited

surajit@graphixstory. com

Varaprasad

VFX

GreatGuns

hellovara@gmail.com

SONIA SINGH

Animation

GREEN GOLD ANIMATION

soniasingh.office@ gmail.com; sonia@ greengold.tv

Amrita Valecha

Animation

Green Gold Animation Pvt Ltd

amrita@greengold.tv

Rajiv Chilaka

Animation

Green Gold Animation Pvt Ltd

rajiv@greengold.tv; rajiv@greengold.in; rajiv@greengold.com

Srikanth

Animation

Green Ladder Picutres

srikanth.bfa@gmail.com

Apoorva Idya

Animation

Greengold Animation

apoorvaidya@greengold. tv

Aslam Qureshi

Animation & VFX

Hawk Etnertainment

moh.aslamqureshi@ gmail.com

Subrata Roy

Animation & VFX

Hitech Film & Broadcast Academy

itzsubrata@gmail.com

354

India Film Guide 2022

Cannes Film Market

355

Contacts

Name

Category

Organisation

Name

Category

Organisation

Dinesh Damodaran

Animation

Jain Animation School

damodarandinesh@ gmail.com; info@ jainanimation.in

Vijosh Nair

Animation

Maac Borivali

borivali@maacmail.com

Sandip Saha

Animation

Maac Girishpark

sandip. maacgirishpark@gmail. com

Siddharth J

Animation

MAAC Indiranagar

indiranagar@maacmail. com

Soumen Roy

Animation

MAAC Kakurgachi

kakurgachi@maacmail. com

Seetha Nair

Animation

MAAC Malad

malad@maccmail.com

Rohit Sharma

Animation

MAAC Multimedia

rohitsharma31@gmail. com

Shoubhik Bhattacharya

Animation

Machino Animation Pvt. Ltd

moumita@rtga.in

Pete Draper

VFX

Makuta VFX

pete@makutavfx.com

Vikram Visvanathan

Animation

Mark IV Animation Studios Pvt Ltd

vikram@markivstudios. in

Dheeraj Verma

Animation

Marvel Comics

dheeraj2210@gmail.com; dheeraj@dheerajverma. com

Biswajit Das

Animation

Marwah Studios

biswajit.das@asms.edu. in

Priyankar Bhattacharjee

Animation

Maya Academy of Advance Cinematics

priyankar.sena@gmail. com

Anish Mehta

Animation

Maya Digital Studios Pvt Ltd

anish.mehta@cosmosmaya.com

Barunendra Bachar

VFX

Mayabious Art

contactus@mayabious. com

Akhil Bandhu Paul

VFX

Mayabious Art LLP

contactus@mayabious. com

Ranjini Mukherjee

Animation

Metaphor Animation Studios

ranjini@ metaphorstudios.in

Kushal Ruia

Animation

Moovix Media Inc.

kushal@moovix.ca

Piyush Tewari

Animation

Jamuura

piyush@jamuura.com

J S Katnoor

Animation

Jingle Kartoonj

katnoor@gmail.com; katnoor@jinglekartoonj. com

Sundeep Dhingra

Animation

Kartvya Animation

kartvyaanimations@ yahoo.com

Prakash Nambiar

Animation

Kathaa Animations Pvt Ltd

prakash@kathaa.com

Sharad Mittal

Animation

Kathputlee Animation Studios

sharad@kathputlee.in

Suji Toms

Animation

Keltron Animation Campus

sujitam@gmail.com; sujitoms@yahoo.com

Taranjiet Namdhari

Animation

Kik Butt Entrttainment

Asheet Thakur

Animation

Labyrinth Cinematic Solutions

asheet@labyrinth.in

Phaneendra

Animation

Laughing Dots

phani117@yahoo.com; phanee@laughingdots. com

Ravindra Abburi

Animation

Laughing Dots

ravi@laughingdots.com

Vinod

Animation

Lemon Yellow Sun Films

vinod@ lemonyellowsunfilms. com

R A Imran

Animation

Life of Life Animators Pvt Ltd

ra.imran@gmail.com

Vikas Dhandula

Animation

MAAC

faridabad@maacmail. com

Sameer Shanishchar

Animation

MAAC

sameer@aptech.ac.in

Anandh Ramesh

Animation

MAAC Annanagar

anandhramesh@ voxelworks.in

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Contacts

Name

Category

Organisation

Name

Category

Organisation

Shaaz Ahmed

Animation

Mud n Water Production Pvt Ltd

shaaz@mudnwater.com

Mahima Sharma

Animation

Pitara Studios

mahima@pitarastudios. com

Anand Baid

Animation

Native Puppets

anand@nativepuppets. com

K.V Sanjit

Pixel D Post Pvt Ltd

kv.sanjit@pixeldstudios. com

Nikhil Birla

Animation

Nazara Technologies Ltd.

nikhil.birla@nazara. com

Post Production Studios

Pushpa Koshal

Pixel Digital Studios

Urmi Basu

Animation

New Light

info@newlightindia.org

Post Production Studios

pushpa.koshal@ pixelstudios.com

Rajendran

Animation

Nextwave Multimedia Pvt Ltd

rajendran@ nextwavemultimedia. com

Sharvari S Watak

Post Production Studios

Pixel Digital Studios

sharvari.watak@ pixeldstudios.com

Deepak Sharma

Animation

Nihodo Media Pvt Ltd

deepak.sharma@ nihodomedia.com

Rony Chand

Animation

Popcorn Animation

rony@

Suhas Sundar

Animation

Nihodo Media Pvt Ltd

suhas.sundar@ nihodomedia.com

Angshuman Roy

Animation

Popkkorn Films

popkkornfilms@gmail. com

Niranjan

Animation

Nirmita Entertainment

niranjan@ nirmitastudio.com

Samir Hoon

Animation

Prana

Shoon@pranastudios. com; pgunsagar@ pranastudios.com

Shruti

VFX

Ny Vfxwaala Llp

shruti@nyvfxwaala.com

Anish H. Mulani

Animation

Zainuddeen Fahadh

Animation

Ogre Head Studio

zain@ogrehead.com

Prana Studios Pvt. Ltd.

amulani@pranastudios. com

Mohan Krishnan

VFX

Prasad Group

Sidharth Kumar Tiwary

Animation

corpcom@prasadgroup. org

Arjun Bhatia

Pravin Arora

Post Production Studios

Origin Picture Studioz Pvt

pravinarora@justvideo. co.in

Post Production Studios

Prime Focus Limited

arjun.bhatia@ primefocus.com

Paresh Acharya

Greg Acuna

Animation

Pala Flicks Pvt Ltd

greg@palaflicks.com

Prime Focus Limited

paresh.acharya@ primefocus.com

Aashish Mall

Animation

Paperboat Design Studios Pvt Ltd

aashish@ paperboatstudios.co

Post Production Studios

Ankur Jain

Vivek Singh Sidhu

Animation

Pencillati Studios Pvt Ltd

viveksidhu@pencillati. com

Post Production Studios

Prime Focus Technologies

ankur.jain@primefocus. com

Shouvik Basu

Animation

Perfect Ten Films

basu.shouvik@gmail. com

Shome Suvra Dasgupta

Post Production Studios

Prime Focus World

shome.dasgupta@ primefocusworld.com

Rahul Bakshi

Animation

Phoebus Creations Media Pvt Ltd

rahul@phoebusmedia.tv

358

Onelife Studios

skt@onelifestudios.in

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Contacts

Name

Category

Organisation

Name

Category

Organisation

Nandish Domlur

Animation

Protein Entertainment & M.D, Hungry and Foolish

nandish@ proteinentertainment. com

Sukankan Roy

Animation

RH Media Pvt. Ltd.

sukankan@royholdings. com

Mehul Hirani

Animation & VFX

Riva Animation & VFX Pvt Ltd

mehul.hirani@ rivadigital.com

Goldie Behl

VFX

Rose Audio Visuals Pvt. Ltd

sarya@roseaudiovisuals. com, gbehl@ roseaudiovisuals.com

Sonal Jindal

Animation

RTG Animate

atanu@rtga.in; sonal_ jindal@hotmail.com

Hardeep Singh Gill

Animation

Pumpkin Academy of Digital Arts

hardeepgill7@rediffmail. com; hardeepgill7@ pumpkininteractive.in

Ashish S Kulkarni

Animation

Punnaryug Artvision Pvt Ltd

ashishk66@gmail.com

V V S Raidu

Animation

RACE, The Animation College

info@race-india.com; info@rvml.co.in

Nayan Mandal

Animation

RTG Animate

Manish Gupta

Animation

Raj Comics

gmanish@rajcomics. com

mandal@iamreadytogo. com; manadl@rtga.in

Moumita Saha

Animation

moumita@rtga.in

Sanjay Gupta

Animation

Raj Comics

sanjaygupta786@gmail. com

RTG AnimateAnimation Academy

Nihal Kiran Dalwai

Post Production Studios

Rare Fox Entertainments

RAVINDER SINGH SAHNI

Post Production Studios

Rusun Vision Pvt Ltd

ravi.sahani@yahoo.com

A. D. Patel

Animation

Reliable Animation

info@ reliableanimations.com; a.ajay.patel@gmail.com

Harsha Pasupuleti

Animation

RVML Animation

harsha@aniguru.com

Rayudu V Sashank

Animation

RVML Animation

Tejonidhi Bhandare

Animation

Reliance Animation (Big Animation (I) Pvt Ltd

tejonidhi.bhandare@ relianceada.com; tejonidhi.bhandare@ biganimation.com

sashankrayudu@gmail. com; sashank@vsnl. co.in

Sunil

Animation

Showtell Productions P Ltd

sunil@showandtell.in

Mukund

Animation

Skill Tool studio

mukund@ Source: FICCI skilltoolstudio.com

Rohan Vishnoi

Animation

Sky Angels Animation Studio

info@skyangelsindia. com

Akshay Paul

Animation

Reliance Big Entertainment UK Pvt Ltd

akshay.paul@ relianceada.com

Amit Khanduja

Animation

Reliance EntertainmentDigital

Amit.Khanduja@ Relianceada.com

Sumanth Marda

Animation

Smart Animation Studios

ask@ smartanimationstudios. com

Medha Jaishankar

Animation

Reliance Mediaworks Ltd

medha.jaishankar@ relianceada.com

Parvez Kaleem

Soul Motion Pictures

soulmotiopictures@ gmail.com

Gokul Sundar

Animation

Reliance Mediaworks Ltd Ltd

gokul.sundar@big927fm. com

Post Production Studios

360

India Film Guide 2022

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361

Contacts

Name

Category

Organisation

Name

Category

Organisation

Rajnish Arora

Animation

Source Animation Pvt Ltd

raj@sourceofindia.com

Akshata Udiaver

Animation

The Animation Soceity of India

akshata@tasionline.org

Parvindr Singh Wraich

Animation

Sovi Entertainemnts Pvt Ltd

info@sovi.in

Vijay Raut

Animation

vijay.animaster@gmail. com

Praveen Reddy

Animation & VFX

Sri Sarathi Studios Pvt. Ltd

praveen@ srisarathistudios.in

The College of Animation BioEngineering & Research Centre(COABARC)

Santosh Yadav

Animation

StarGaze Animation Studios

santosh@ stargazestudios.com

Vishal

Animation

The Design Tree

krvishal@thedesigntree. net

Suresh Eriyat

Animation

Studio Eeksaurus

suresh@ studioeeksaurus.com

Ramesh Meer

Post Production Studios

The Fx Factory

rameshmeer@hotmail. com

Suresh Eriyat

Animation

Studio Eeksaurus Production Pvt Ltd

divyas@eeksaurus.com

Darshan Dugar

The Pixellence Studios

md@pixellence.ooo

Nilima Eriyat

Animation

Studio Eeksaurus Productions Pvt. Ltd.

nilima@ studioeeksaurus.com

Post Production Studios

Sonia Gupta

Animation

Theanimationnews

sonia@graphicimage. com

A. L Azhagappan

Animation

Think Big Studio

Monica Seth

Animation

Tigerbells Animation Pvt Ltd

monica.seth@tigerbells. com

Vivek Kalyan

Animation

Tigerbells Animation Pvt Ltd

vivek.kalyan@tigerbells. com

Tehzeeb Khurana

Animation

Toon Club

tehzeeb@toonclub.net

Sharat Chandran Nair

Animation

Toonbox Animations

toonboxanimations@ rediffmail.com

RK Nair

Animation

Toonz Animation Academy

rknair@toonzacademy. com

Nanda Kishore K

Animation

Trimension Studio

nanda.k.kishore@gmail. com; info@trimensionsound.com

Sowjna Rao

Animation

Stylus The Animation College

sowjnatansoft@gmail. com

Akshat Gupt

Animation

Supari Studios

akshat@suparistudios. com, mitali@ suparistudios.com

Ashish Kashyap

Animation

Supinfocom Rubika

aashishk8@hotmail.com

Aswini Kumar Satapathy

Animation

Syu Design

ashwini@syu.co.in

Biren Ghose

VFX

Technicolor India

Biren.ghose@ technicolor.com; biren. ghose@gmail.com ; birenghose@gmail.com

Jigesh Gajjar

Animation

Technicolor India Private Limited

jigesh-g@movingpicture.com

Vijay Venkat

Animation

Television Eighteen India Ltd

suresh.venkat@ network18online.com

Rony

Animation

Thameens Films

rony.india@gmail.com

362

India Film Guide 2022

Cannes Film Market

363

Contacts

Name

Category

Organisation

Name

Category

Organisation

Atindriya Bose

Animation

Trringo

atindriya_bose@scee. net; atindriya_bose@ hotmail.com

Mehernosh Atul

Post Production Studios

YRF Studios

mehernosh@yrfstudios. com

Rohit Bhanushali

Post Production Studios

Tubers Studio Entertainment

tubersstudio@gmail. com

Ashwini Santosh

Animation & VFX

zicamwm@gmail.com

Kamal Bansal

Animation

Tuttle In Motion Studios Pvt Ltd

kamal@ turtleinmotionstudios. com

Zee Institute of Creative art, Malleshwaram, Bangalore

Anirban Popov

Animation

Zoetrope Animation Studios LLP

anirban.p@ zoetropestudios.in

Bhavesh Gondaliya

Animation

Vaibhav Studios

gondaliya_bhavesh_g@ yahoo.com

Arjun Gupte

Animation

Vaibhav Kumaresh

Animation

Vaibhav Studios

vaibhavkumaresh@ hotmail.com

Alaghar Samy

Animation

Vansat

alagar@vansat.in

Hardik Gajjar

VFX

Vertex Volt

hardik@vertexvolt.com

Deepak Siv Rajan

Animation

Vismayasmax Animations

Kunal Saigal

Animation

Visual Computing Labs - Tata Elxsi Ltd

kunalsaigal@tataelxsi. co.in

Abhishek Arya

Animation

Visual Effects And Animations [ Freelance ]

abhishekarya.3d@ gmail.com; abhishek@ fxdigitalmystic.in

Mehul Mahicha

Animation

Vivi5 Animation , Art Design Studio

mahicha.mehul@vivi5. net, rita.dhankani@ vivi5.net

Srimati Mukherjee

Animation

Webel DQE Animation Academy

srimati123@gmail. com; srimati.webel@ dqentertainment.com

Annesh Kutti

Animation

Wheres The Fun WTF Animation Studio

anneshkutti@gmail.com

364

India Film Guide 2022

angupte@gmail.com

This is just an indicative list. If you are looking for a producer, distributor, filmmaker or M&E service provider who is not included in this industry list, or have any query, mail us at

frames@ficci.com

Cannes Film Market

365

FILMS

INDIAN PANORAMA FUTURE FILMS

Contacts Ministry of Information and Broadcasting Government of India Room No.107, A Wing, Shastri Bhavan Dr. Rajendra Prasad Road New Delhi - 110 001 India www.mib.gov.in Email : moib@gov.in National Film Development Corporation 6th Floor, Discovery of India Building, Nehru Centre, Dr. Annie Besant Road, Worli, Mumbai 400 018, Maharashtra. Email: nfdc@nfdcindia.com www.nfdcindia.com Film Facilitation Office 4th Floor, Soochna Bhawan, CGO Complex, Lodhi Road, New Delhi - 110 003 Email : ffo@nfdcindia.com www.ffo.gov.in Federation of Indian Chambers of Commerce and Industry FICCI Federation House, Tansen Marg New Delhi, India 110001 Email : frames@ficci.com www.ficci.com

Cannes Film Market

367

FILMS

INDIAN PANORAMA FUTURE FILMS

Ministry of Information & Broadcasting Government of India

MINISTRY OF INFORMATION AND BROADCASTING GOVERNMENT OF INDIA ROOM NO.107, A WING, SHASTRI BHAVAN DR. RAJENDRA PRASAD ROAD NEW DELHI - 110 001 INDIA WWW.MIB.GOV.IN | EMAIL : MOIB@GOV.IN

Cannes Film Market

368