www.pickle.co.in AUG 3-9 Aug | 2020
national education policy
GAME CHANGER India’s New Education Policy allows students to pursue creative arts, performing arts and design which will help M&E as an alternative subject from 6th grade to PhD. As an advocate of mainstreaming of media education, Ashish SK has spent almost two decades propagating the idea to the world with the zeal of a crusader. In an insightful interview with Pickle, the Founder of Punnaryug Artvision and Screenyug Creations, tells how the NEP is a game changer
www.pickle.co.in AUG 3-9 Aug | 2020
Chaitanya Tamhane
The Disciple (Marathi) Venezia 77 Competition
Ivan Ayr
Meel Patthar (Punjabi) Orizzonti Features competition
Sushma Khadepaun
Anita (Gujarati) Orizzonti Short Films Competition
THREE CHEERS A trio of Indian titles, including the country’s first entry in the Main Competition in nearly two decades, will compete for awards at the Venice Film Festival 2020 2 www.pickle.co.in India’s Only Media BIZ magazine for the world
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INSIDE
STORIES
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Ayushmann Turns Athlete
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With AI, Machines Write Now
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MIPCOM Unveils New 2020 Market Format
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Valentina Merli Head of Locarno Pro.
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Locarno Pro Offers Growth Opportunities
Streaming Classics Online
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18 Must-See Films At Venice 2020 India’s Only Media BIZ magazine for the world
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fro m t he editor
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ill now it was a dream. Now it has become closer to being real. Our students will have the flexibility to study Python and Performing Arts together. Subjects like Dance and Design which once were to be pursued as a hobby, can now be a mainstream subject from sixth grade to PhD. We are talking about the New Education Policy unveiled by the Ministry of Human Resource Development, Government of India. The nine-member team lead by space scientist Dr Kasturirangan authored the New Education Policy (NEP) which has brought in a massive mind shift in mainstreaming creative and performing arts education in the country. A casual chat with Ashish SK, an industry veteran in animation, gaming and VFX space who has been propagating this idea with a zeal of a crusader resulted in this week’s lead feature on the big picture impact of NEP for media and entertainment industry. There could not have been a better game changing moment for the Indian M&E sector. Another big moment for India this week was Chaitanya Tamhane’ s Marathi film The Disciple being selected in the 77th Venice Film Festival’s Golden Lion Competition Section. For the first time in 19 years, an Indian film found a place in the world’s leading film festival.
The Disciple will also be screened in the 45th Toronto International Film Festival in September. Saibal Chatterjee’s article explains why it is a best moment for India. Also India’s regional film spread is visible this year at Venice. Ivan Ayr’s Punjabi film Meel Patthar (Milestone) and Sushma Khadepaun’s Gujarati short film Anita have found a space to compete in the Venice Film Festival. The Heritage Online launched by Locarno Pro is one of the best innovative services that has been created in recent times. More than that, it will be remembered and etched in History as this has evolved and shaped during the pandemic. This meaningful initiative aims to bring heritage films to the audiences of online platforms. “Our new project Heritage Online fills a gap in the audiovisual industry landscape and will foster links between rights holders, VOD platforms and world cinema distribution,” says Heritage Online Project Manager Markus Duffner. Feel free to email your thoughts and suggestions.
n vidyasagar pickle media nat@pickle.co.in, www.pickle.co.in
Pickle Volume XIV 5th Edition Published by Pickle Media Private Limited Email: natvid@gmail.com l Mumbai l Chennai No.2, Habib Complex Dr Durgabhai Deshmukh Road RA Puram CHENNAI 600 028
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Pickle Business Guide 2020 Copyright 2020 by Pickle Media Pvt Ltd. All Rights Reserved. Pickle is an ad supported business guide tracking the filmed entertainment business in India.
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The World This Week Business HT Media has acquired Mosaic Media Ventures that operates digital media properties VCCircle and Techcircle. Adding to them, Mosaic Media also operates subscription-based research databases, VCCEdge and SalesEdge. News Corporation (News Corp), an American mass media and publishing company had acquired Mosiac Media Ventures in 2015.
BY THE NUMBERS 21
Age of Google
6 billion
Number of search requests everyday
Microsoft has confirmed that it is continuing talks to purchase the US operations of Chineseowned video-sharing app TikTok. Microsoft chief Satya Nadella had a conversation with President Donald Trump about the acquisition, the tech giant said.
100 billion
Facebook has introduced ‘official music videos’ in India to showcase music videos from labels like T-Series Music, Zee Music Company, and Yash Raj Films on its platform. The music video experience on Facebook is available in India, Thailand, and the US. Users in India will be able to watch content from the country’s top music labels - T-Series Music, Zee Music Company, and Yash Raj Films.
Emails processed by Gmail
500 hrs
Content uploaded in YouTube every minute
1 billion
Number of hours we watch YouTube
James Murdoch, the younger son of media mogul Rupert Murdoch, has resigned from the board of News Corporation citing “disagreements over editorial content”. In a filing to US regulators, he said he also disagreed with some “strategic decisions” made by the company. The exact nature of the disagreements was not detailed.
Last year, on Sanjay Dutt’s birthday, he had gifted his fans the first look of his next release KGF: Chapter 2. This year, the makers have shared the first look, the first poster of the actor and it is clear that his looks have been borrowed from the Vikings. Sanjay Dutt took to social media to share the poster with his fans and it has become viral.
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The World This Week Business “We don’t want hate on our platforms, and we stand firmly against it.” Sheryl Sandberg
Sheryl Sandberg, Facebook’s chief operating officer
Photo credit : By World Economic Forum from Cologny, Switzerland Women in Economic Decision-making: Sheryl SandbergUploaded by January, CC BY-SA 2.0
Eros International Plc and STX Entertainment have completed merger to form Eros STX Global Corporation. Combined company creates a financially robust global studio leader across 3 continents with strategic content and distribution partnerships for an ‘unprecedented global footprint’.
Netflix is finally rolling out a feature to let subscribers stream content up to .5 times slower or 1.5 times faster. Now, Android users are officially able to control their streams on their mobile devices, letting audiences manage the speed of their binge-watching in the palms of their hands.
Sony has announced two-new 4K televisions under its Bravia lineup. Named as Bravia X8000H and X7500H, the models come with the company’s own TRILUMINOS display and are powered by X1 4K HDR Picture Processor. The all-new TVs are equipped with Dolby Vision and Dolby Atmos technology.
Xiaomi has announced a partnership with Disney+ Hotstar, India’s leading premium streaming platform. The association brings the latest and biggest Bollywood movie titles directly to millions across the country, under the Multiplex banner. The Multiplex Banner feature on Mi TVs will allow the viewers to access these movies two hours prior to the official release.
Chinese drama Enigma of Arrival quashed Dolittle and Jojo Rabbit to take the top spot in theaters’ second weekend back in business, while a local animation bested the whimpering China debut of Paramount’s Sonic the Hedgehog. The $87 million-budgeted Sonic’ broke records in its February premiere stateside, attaining the highest opening figures for a video game movie adaptation to date with an estimated $57 million three-day debut. In China, it opened with just $1.27 million, according to leading Chinese data tracker Ent Group.
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Mainstream TV OTT was launched when the world of Malayalam movie goers barely had any options to watch and enjoy movies. Mainstream TV is available on iOS, Android, Fire TV and Chromecast. One can book the ‘Balcony Ticket’ in Mainstream TV and enjoy the movie same way as you enjoy it in a theatre.
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AI TAKES A NEW TURN
WITH AI,
MACHINES WRITE NOW
Artificial intelligence research outfit OpenAI Inc. recently made the latest version of its GPT-3 generalpurpose natural language processing model available in private beta, and its capabilities are astounding early testers. Input any text, and GPT-3 would complete it
OpenAI Inc.
In July, OpenAI, an artificialintelligence research lab based in San Francisco, began allowing limited access to a new software called GPT-3. It is being claimed as by far the most powerful “language model” ever created. GPT stands for “generative pre-trained transformer” A language model is an artificial intelligence system that has been trained on an enormous corpus of text; with enough text and enough
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processing, the machine begins to learn probabilistic connections between words. In other words, GPT3 can read and write well. GPT-3 is a machine learning system that has been fed 45TB of text data, an unprecedented amount. Training allows it to generate written content: stories, code, legal jargon, all based on just a few input words or sentences. And the beta test has already produced some jawdropping results.
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However, after some initially promising results, GPT-3 is facing more scrutiny. The model faced criticism recently when Facebook’s AI head Jerome Pesenti called out bias coming out of a program created with GPT-3. The program was a tweet generator; anyone could type in a word and the AI would come up with a relevant, 280-characters-or-less sentence. But these issues are expected to be rectified soon. Once it is officially launched, GPT-3 could be enormously useful and it is expected to change the way how a lot of things are being done now. Machines that can understand and respond to humans in our own language could create more helpful digital assistants, more realistic video game characters, or virtual teachers personalized to every student’s learning style. GPT-3’s flexibility is a big advantage. Matt Shumer, the chief executive of a company called OthersideAI, is using GPT-3 to build a service that responds to email on your behalf — you write the gist of what you’d like to say, and the computer creates a full, nuanced, polite email out of your bullet points. From a single sentence, or even a few words, it can generate a full five, well-written paragraphs. It unleashes a lot of creativity. GPT-3 was trained off of 175 billion parameters from across the internet, including Google Books, Wikipedia, and coding tutorials etc. GPT-3 is the third generation of OpenAI’s Generative Pretrained Transformer, which is generalpurpose language algorithm that uses machine learning to translate text, answer questions and predictively write text. It works by analyzing a sequence of words, text or other data, then expanding on these examples to produce entirely original output in the form of an article or an image. After originally publishing its GPT-3 research in May, OpenAI gave select members of the public access to the model last week via an API. And over the past few days, a number of samples of text generated by GPT3 have begun circulating widely on social media. A company called Latitude is using GPT-3 to build realistic, interactive characters in text-adventure games. It works surprisingly well — the software is not only coherent but also can be quite inventive, absurd and even funny.
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Paras Chopra
I made a fully functioning search engine on top of GPT3. For any arbitrary query, it returns the exact answer AND the corresponding URL. Look at the entire video. It’s MIND BLOWINGLY good.
Sharif Shameem
With GPT-3, I built a layout generator where you just describe any layout you want, and it generates the JSX code for you.
Amanda Askell
Guitar tab generated by GPT-3 from a fictional song title and artist.
Sam Altman
The GPT-3 hype is way too much. It’s impressive (thanks for the nice compliments!) but it still has serious weaknesses and sometimes makes very silly mistakes. AI is going to change the world, but GPT3 is just a very early glimpse. We have a lot still to figure out.
Julian Togelius
GPT-3 often performs like a clever student who hasn’t done their reading trying to bullshit their way through an exam. Some wellknown facts, some half-truths, and some straight lies, strung together in what first looks like a smooth narrative.
Simon Sarris
GPT-3 imitating human text: We aren’t pulling the mask off the machine to reveal a genius wizard, we’re pulling the mask off each other to reveal the bar is low.
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MIPCOM RENDEZVOUS CANNES
MIPCOM unveils New 2020 Market Format
MIPCOM, the world’s biggest content market will streamline this year’s TV market by scrapping exhibition stands and shortening the event to three days (October 12-14). MIPCOM ONLINE+, a premium digital service will run from (October 5 to Mid-November)
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IPCOM 2020, initially programmed for October 12-15, has announced that the 36th edition of the flagship entertainment content market will take place as MIPCOM RENDEZVOUS CANNES, a streamlined, 3-day gathering of the international television community in Cannes (October 12-14), together with MIPCOM ONLINE+, a premium digital service (October 5-mid-November). MIPJunior, traditionally held as a hotel-based programme screening and networking event, will move into the Palais des Festivals and run alongside MIPCOM RENDEZVOUS CANNES.
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“We want to help the international television community get back to business and the combination of face-to-face at MIPCOM RENDEZVOUS CANNES and digital MIPCOM ONLINE+ makes this possible. We understand that some people will be unable to travel to Cannes, so they can be part of the MIPCOM experience digitally. New health and safety guidelines meant considerable disruption and extra costs for exhibitors and their stands, so we decided there will be no exhibition stands at MIPCOM RENDEZVOUS CANNES,” says Laurine Garaude, Reed MIDEM’s Television Division Director.
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The launch of the Global Upfronts is the centrepiece of our Buyers Programme. We have stepped up our invitations to buyers and we are also working closely with major studios from around the world to present their newest and most exciting slate of content MIPCOM RENDEZVOUS CANNES will see a new show floor plan for face-to-face meetings and market screenings, and delegates will be able to use open meeting spaces, reserved tables or privatised lounges. The event will take place in the Ambassadeurs and Riviera halls of the Palais des Festivals. Physical distancing will be in place as part of comprehensive health and safety measures throughout the Palais. Commenting on the presence of acquisition executives in Cannes, Laurine Garaude notes, “The launch of the Global Upfronts is the centrepiece of our Buyers Programme. We have stepped up our invitations to buyers and we are also working closely with major studios from around the world to present their newest and most exciting slate of content.” Delegates who are unable to attend MIPCOM RENDEZVOUS CANNES can set up online video meetings, screen programmes and access conferences via MIPCOM ONLINE+. The combination of MIPCOM RENDEZVOUS CANNES and MIPCOM ONLINE+ will enable MIPCOM’s international community to connect and share the MIPCOM experience, in Cannes or anywhere worldwide. Exhibitors who have already booked a stand for this year’s MIPCOM will receive a choice of refunds or credits for MIPCOM RENDEZVOUS CANNES or future MIP markets. “For many of us, MIPCOM RENDEZVOUS CANNES will be the first international TV trade market to take place, as a live gathering, since business was disrupted by the global Covid-19 pandemic. We’ll be there to greet the TV industry in Cannes in October and for those who can’t make it, we will connect everyone virtually,” concludes Laurine Garaude.
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Laurine Garaude, Reed MIDEM’s Television Division Director
MIPCOM RENDEZVOUS CANNES PROGRAMME HIGHLIGHTS: An exclusive Buyers Programme featuring Screenings including the New Global Upfronts, market screenings and market intelligence will occur, along with a full conference programme including high-profile keynotes, market trends and industry analysis. The MIPCOM Diversify TV Excellence in TV and MIP SDG Awards will be the centrepieces of the newly announced Change for Good programme, an industry forum for global social change. MIPJunior delegates will have a dedicated programme and will have their own distinct networking zone within the redesigned show floor, which will include access to the digital screenings library, conferences and meeting spaces. Season 3 of the CANNESERIES FESTIVAL will take place alongside MIPCOM RENDEZVOUS CANNES.
MIPCOM ONLINE+: MIPCOM ONLINE+ will launch on October 5 and will run until mid-November MIPCOM ONLINE+ will enrich the market experience for participants attending MIPCOM RENDEZVOUS CANNES and for those who cannot travel to Cannes. Global Upfronts, market screenings and the most important conference sessions and speakers from Cannes will be accessible to delegates and new audiences in Cannes and worldwide. Extensive content from our studio partners and international distributors will showcased. The enhanced database will facilitate online networking opportunities, allowing users to set up highly targeted, video business meetings between distributors and buyers.
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Performance powerhouse
Ayushmann
turns athlete
Having started his career as a RJ, Ayushmann Khurrana has come a long way and done memorable movies in which he played solid roles and delivered commendable performance. In his new film with Abhishek Kapoor, he will be seen as a Cross Functional Athlete
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yushmann Khurrana, the poster boy of content cinema in India, is joining hands with Abhishek Kapoor, the celebrated director of successful films like Rock On!!, Kai Po Che and Kedarnath for the first time, for a ‘progressive love story that will touch your hearts’, in which the former will play an athlete. The currently untitled project is produced by Yash Raj Films and expected to go on floors later this year. Having started his career as a RJ, Ayushmann Khurrana has come a long way and done memorable movies in which he played solid roles and delivered commendable performance. While he is a police officer who launches an attack against the caste system in Article 15, he is a sperm donor in Vicky Donor and a visually challenged pianist in Andhadhun. Not just that, he played the husband of an overweight woman in Dum Laga Ke Haisha and a man with erectile dysfunction in Shubh Mangal Saavdhan. He has a pan Indian appeal with fans from Kashmir to Kanyakumari.
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AyushmanN
Character sketch Article 15
- Policeman
Vicky Donor - Sperm donor Andhadhun - Visually challenged pianist Dum LagaKe - Husband of an Haisha overweight woman Shubh Mangal - Man with erectile Saavdhan dysfunction Bala
- Youngster grappling with
a bald pate Talking about the new venture, Abhishek says, “Ayushmann and I are both known for a certain kind of cinema and this film is definitely a special one for both of us. We want audiences to come back to the theatres and watch movies as a community and for that we will spare no effort . We strive to bring our best game for this one.” The film-maker says he is going to present Ayushmann in a neverseen-before avatar. Abhishek says, “Ayushmann plays a Cross Functional Athlete in the film and he will have to go through a physical transformation that he hasn’t done before. It’s quite a challenge and he’s very committed to it.” Ayushmann is excited about creatively collaborating with Abhishek and is looking forward for his physical transformation. “Abhishek has a very distinct
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voice in cinema today and I’m glad that we finally got the opportunity to collaborate on a project that’s exceedingly close to my heart. This film has all the trappings to take audiences through a ride of emotions and it is a total family entertainer. It is a beautiful, progressive love story that will also touch your hearts,” he says. Ayushmann, whose choice of cinema has given birth to a genre in Hindi movies called ‘The Ayushmann Khurrana Genre’, adds, “I’m supremely excited about the physical transformation that I will have to undergo. It will present me in an all new avatar. I have never looked like this on screen and I’m looking forward to seeing the reaction of audiences. The process is going to be intense and excruciating for me but I feel all the pain will be worth it.” The film will release worldwide in theatres next year.
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WATCH
Ayushmann CATALOGUE
NOW
A man is brought in by an infertility doctor to supply him with his sperm, where he becomes the biggest sperm donor for his clinic.
Streaming ON ErosNow, Youtube Movies Director: Shoojit Sircar
Vicky Donor
2012
An actor’s life changes dramatically when he saves a stranger from suicide.
Streaming ON Disney+hotstar Director: Rohan Sippy
Nautanki Saala!
2013
It is a slice-of life comedy when recession strikes and the lack of money tests love. Is living on love and fresh air really possible?
Streaming ON youtube Movies Director: Nupur Asthana
Bewakoofiyaan
2014
The film which is based on the life on an Indian scientist Shivkar Bapuji Talpade, who is credited to have constructed India’s first unmanned plane is the tale of the hardships that he went through on the journey to discover. Also the film is set in the pre-independence era of Bombay of 1895.
Streaming ON Disney+hotstar Director: Vibhu Puri
Hawaizaada 16
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2015 www.pickle.co.in
WATCH
Streaming ON Youtube Movies Director: Sharat Katariya
Dum Laga Ke Haisha
2015
Childhood friends Abhimanyu and Bindu face friction when she realises that she does not love him after a brief relationship. After getting famous, Abhimanyu decides to pen a story based on his life.
Streaming ON Youtube Movies Director: Akshay Roy
Meri Pyaari Bindu
2017
Set in the small-town of Bareilly, Bitti is a free-spirited young girl who lives life on her own terms and refuses to be pressured into getting married. Her life takes a shift when she meets Chirag Dubey and Pritam Vidrohi.
Streaming ON Netflix Director: Ashwiny Iyer Tiwari
Bareilly Ki Barfi
2017
A couple fall in love but then the groom discovers that he suffers from erectile dysfunction.
Streaming ON Eros Now, youtube movies Director: R. S. Prasanna
Shubh Mangal Saavdhan 17
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Ayushmann CATALOGUE
NOW
Prem and his oversized wife Sandhya are supposed to spend a lifetime together. Will a regular arranged marriage turn out to be a perfect mismatch?
2017 www.pickle.co.in
WATCH
Ayushmann CATALOGUE
NOW
A series of mysterious events change the life of a blind pianist, who must now report a crime that he should technically know nothing of.
Streaming ON Netflix Director: Sriram Raghavan
Andhadhun
2018
A man is embarrassed when he finds out his mother is pregnant.
Streaming ON Disney+hotstar Director: Amit Sharma
Badhaai Ho
2018
In the rural heartlands of India, an upright police officer sets out on a crusade against violent caste-based crimes and discrimination.
Streaming ON Netflix Director: Anubhav Sinha
Article 15
2019
Rom-com Movie, directed by Raaj Shaandilyaa, stars Ayushmann Khurrana who plays a ‘dream girl’. In every love story, there is always one trying to win the heart of the other, who could be the ‘dream girl’.
Streaming ON ZEE5 Director: Raaj Shaandilyaa
Dream Girl 18
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2019 www.pickle.co.in
WATCH
Streaming ON Disney+hotstar Director: Amar Kaushik
Bala
2019
The road to achieving a happy ending is a little too rough for two guys Kartik and Aman. While Aman’s family tries hard to battle his love for Kartik, Kartik isn’t prepared to step back until he marries Aman.
Streaming ON Amazon prime Director: Hitesh Kewalya
Shubh Mangal Zyada Saavdhan 2020
Two scheming men get caught up in a game of one upmanship, each one attracting other members to their clan and each one with an agenda of his own.
Streaming ON Amazon prime Director: Shoojit Sircar
Gulabo Sitabo
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2020
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Ayushmann CATALOGUE
NOW
It tells the story of a man who is balding prematurely and how he copes up with the situation.
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M&E Education
National
Education
Policy
A
Paradigm Shift
As a strong proponent of Industryacademia partnership for over two decade now, Ashish SK, Founder of Punnaryug Artvision and Screenyug Creation, has welcomed the New Education Policy (NEP) 2020 with open arms. With most of the industry recommendations finding their way into this game changing policy initiatives, Ashish believes that the future of Indian Media and Entertainment industry is set to change forever for good. Here are excerpts from an exclusive interview with Pickle 20
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Ashish SK What impact will the New Education Policy (NEP) have on media education in the country? How will it boost the M&E industry?
creative arts as part of their hobbies. But when the grades of these subjects will be counted in their overall performance, the complete outlook is set to change. This is the way I read it.
The New Education Policy has completely reset the existing system and has outlined the new structure of schooling; autonomy to colleges and independent institutions based on their performance. It will help mainstreaming of creative education and performing arts. Eventually, in the next three to five years, it will provide some level playing field along with sciences and commerce streams.
When the first draft came in, we as an industry approached certain core groups within schools and universities to help them understand as to why these subjects were important. The team under Dr. Kasturirangan has accepted many of our suggestions, and luckily enough this time the policy document that has come out contains most of our recommendations.
Today, when people talk about arts, their focus is mainly on economics, literature, life skills, psychology, emotional intelligence and philosophy, while creative arts, performing arts or design always take a backseat because these subjects never found a space they deserved in the curriculums of schools or universities. The multi-disciplinary system to be set up under the New Education Policy will give an opportunity to the students to combine their Engineering studies with theater, music, drawing, dancing or even sports. As of now, many parents encourage their kids to pursue performing or
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The National Education Policy 2020 has given us a framework, and it is now up to the industry and higher education institutions to find ways to collaborate and take the respective agenda forward
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Ashish SK
Some universities like Manipal University, Jain University or for that matter Ahmedabad University, along with universities like FLAME and Ashoka, have actually created a multi-disciplinary elective based curriculum approach to help students study Liberal Arts, Arts and Sciences etc, by giving them the choice of pursuing these subjects as their major or minor subjects. I think that’s the way forward. It will help students to decide over a period of time which subjects to study, as many students are not very sure of what they want to pursue even after they enter college. Secondly, in the school level education, the new policy allows optional subjects to be pursued from the sixth grade onwards. And I think that’s where we have the biggest opportunity because when kids start learning creative arts, performing arts, design thinking or sports, their chances of enhancing their skills in these subjects is likely to be very high. It is evident from many singing and dance reality shows on TV. When kids between the ages of 7 and 15 start live performances and are able to get a good exposure, they actually grow
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to become great professionals. And that’s how many legends are born. Take for example, Sachin Tendulkar. If he had not started playing as at 9 or years of age and continued to do what he wanted to do, he wouldn’t have become a legendry cricketer. It would have been a difficult proposition if Sachin had to go back to school and struggle with the curriculum. But now, if somebody who’s going to become a future Sachin Tendulkar he will have an opportunity to take sports or music or dance as one of the key subjects where they can improve their skills, and an assessment will be done for their skills in the right way. However, I see few challenges for most of the schools and universities in the country, including investing into hiring the right faculty and creating the right curriculums. Many of these challenges can be addressed by involving industry experts. I think investment into faculty, building labs, experience centers, art & craft centers and additional infrastructure is something that all the institutions, right from schools to universities, will have to do moving forward. And that’s where I think we will start seeing a true level playing field emerging among sciences, commerce and arts streams.
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I think that’s a big opportunity and I am extremely positive. The Indian media and entertainment industry has in the last 25 years hired people based on their skill sets. It didn’t matter to us whether they completed their university, college or school education or they were school dropouts. It was always about what skill they have. Those with skills for sculpting, painting, mimicry, dancing, drawing or singing and music composition are the guys who are likely to lead a studio. But I think it’s an amazing thing if there is a formalization of their education. The National Education Policy 2020 has given us a framework, and it is now up to the industry and higher education institutions to find ways to collaborate. If the multimedia, animation, and gaming sectors want to push this agenda, they will have to educate the universities and schools as to what they want kids to do so that they can have a better future in the ever evolving digital content industry. A digital content economy is getting built world over, if we don’t place our content in that ecosystem, we will be losing out big time. And I think this framework has given us probably a great opportunity to fill the existing gaps. We should take initiative and start interacting with academic institutions at various levels. And we should provide them guidance & know how as to what the industry is going to need in future. We have to actually prepare kids for the next 25 to 50 years. And that’s why the industry should work very closely with academia. We will have to walk the talk. How do you see the execution process rolling out? How will it prove to be a game changer? The sooner it is done, the better. Those who have already taken initiatives have not waited for the policy. We already have had interventions in 30 to 40 universities teaching animation, VFX & film making. So, we have already initiated the creative education and design education push in the last two decades and I think it has started bearing fruits. Many people today don’t mind pursuing a career in design, film-making, animation, Visual Effects, gaming or even becoming composer or musician.
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Now, if somebody who’s going to become a future Sachin Tendulkar he will have an opportunity to take sports or music or dance as one of the key subjects where they can improve their skills formally and even get marks for the same, and an assessment will be done for their skills in the right way Parents who were apprehensive about these career choices are now opening up to the idea of their kids pursuing a career in creative arts, performing arts and design as well. We also feel happy when we get to meet kids of 14 or 15 years of age, who say they want to become an animator, storyteller, director or an actor. With a structured curriculum in place, the learning foundation of most of such kids would be much stronger. I think the new policy will build a work force, which will combine the traditional skills like language with formal education of creating films or telling stories, or doing animation, gaming or visual effects, along with some entrepreneurial skills. Our industry works on entrepreneurial mechanics. Because everybody is a freelancer, they come together with their skill sets to make a film, television show, an animation show or ad film. So I think formalization of such an education system that helps students become better professional is going to take India in a very different paradigm, which I think is the need of the hour. India is in a very unique situation to gain from this because we create video content in at least 17 to 20 languages. We have 1500+ feature films getting created in at least 13 languages. We create television programs in about 17 languages. It’s a unique ecosystem which is selfsustaining. Many countries have still not been able to achieve this. And then, we have millions of people of Indian origin who are spread all over the world consuming content in multiple Indian languages.
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India is in a very unique situation to gain from this because we create video content in at least 17 to 20 languages. We have over 1500+ feature films getting created in at least 13 languages every year. We create television programs in about 17 languages. It’s a unique ecosystem which is self sustaining eco-systems
Besides, the new policy will go a long way to help people pursuing folk art or craft, or other traditional Indian art forms. Many people who have been doing it until now have never gone to school. It allows them to go to school and still pursue their passion that could fetch grades. We would be most happy to see over 10,000+ schools and 200+ universities in India include creative arts, performing arts, design & sports as part of mainstream education over the next
five years. It would sow the seeds of a new media & content ecosystem in the country. Many global institutions have set up private schools or courses in India, how will it help us? Few foreign education institutions have already tied up with universities in India. The quality of education and the infrastructure is really good. But there are only few who can afford it. As media education was formalized in Canada, US and UK several years ago, many global institutions are fairly evolved and are connected to the industry. So, I think most of these institutions coming to India to create skills or hire are welcome because at the end of the day, our industry has to learn a few things from their experience as well. Also, a lot of new technology is developed while you’re creating the new age content. So, the making of every movie or show itself is a part of the learning process, and that’s where you learn from the masters and take things forward. So I think the presence of good foreign institutions is definitely good for India. If such institutes form a partnership with formal universities it would help them a lot. Even if they’re part of individual institutions or Indian studios, it is still a win-win partnership.
Ashish SK
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We would be most happy to see over 10,000+ schools and 200+ universities in India include creative arts, performing arts, design & sports as part of mainstream education over the next five years. It would sow the seeds of a new media & content ecosystem in the country
Ashish SK The new structure allows universities to grant a certificate to students if they complete their first two semesters in a year. If they complete two years of formal education, they get a diploma. And after completing another two years, they get a degree. I think it is a great model. Some of the kids who are very sharp with their skills, even with a certificate or a diploma will make it to the studios in India. I’m very confident about that. If the new policy transforms the assessment system of students— which was earlier based on written exams at the end of the semester— to the one based on what they can deliver with the skills that they possess at that point in time, it would be an extremely good benchmark. I think under the current system, when fresh graduates join a studio they have to undergo a huge amount of unlearning. And then we have to orient them to the project or to the environment of the studio. It takes almost six months to one year before they really start contributing to the show, or a film. I think that gap would definitely get reduced and the industry would benefit immensely from it.
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Do we have access to talent for education in performing or creative arts? There are two ways of looking at it. When the universities are not teaching the subjects of filmmaking, design, animation or visual effects, many studios or big production houses open their own outfits for training so that they can have an access to talent. But with the new policy in place, it gives you an opportunity to partner with a university and formalize it. I think they need to work with the closest university and establish a partnership with them. You also need to structure it in a way that students can have a choice to go to the university to study the subjects that are covered in the campus and still able to spend most of their time in the studio where they can actually have a practical learning, a kind of hub and spoke model. In this way curriculums can be developed, and by the time the students pass out, they will definitely be ready to join the industry. I think there is an opportunity for our industry to formalize education, because although, you know, the film industry is 105 years old now, most of the professionals have learnt on job.
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Do you still see a need for a Centre for Excellence in Animation, Visual Effects, Gaming and Comics sector? It was talked about but not executed‌ We definitely need a National Centre for Excellence for AVGC. In addition, we also need to add Immersive technology & Immersive content creation to this list. Unfortunately, even after nearly a decade and a half long demand such a center has not taken shape. But there is a connection between this and the New Education Policy & I still believe it will now happen. I think that when something futuristic is suggested, it always takes a long time to shape up. In 2005, we recommended the government that we should have a National Center of Excellence for Animation, Gaming, Visual Effects, and Comics. In 2009, we had a private universities bill. Subsequently, the industry started working closely with the private universities who had a little more autonomy. And today, we have around 30 to 40 universities who have created these curriculums in the last 10 years and have started implementing them. So, it makes great sense to create such Centers of Excellence, much like IITs for animation, gaming, visual effects, comics, AR/VR etc. We should not
dilute that agenda because there is a huge scope of creating entrepreneurs and research in the space of media and entertainment. It allows us not only to create software, but also to create technology for media and entertainment. We are still hopeful that it would come up in the best possible way, which would benefit India at large. At some point in time there was probably a direction from the government which said that all the Master programs should be taught by the PhDs. But when the industry is nascent and does not even have undergrads, how can we have PhDs teaching. I think with this new policy there will be universities now that will open up to create PhD scholars in the space of media and entertainment, creative arts, performing arts, design, and sports. We are waiting for some of these things to happen because research in our industry is something which is truly lagging. If the Media & Entertainment research can add value to our industry - India will emerge amongst the top three Media and Entertainment exports nations. More over the Media and Entertainment exports in the next 10 years will be amongst the top 5 sectors contributing to the Indian GDP.
Ashish SK
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As media education was formalized in Canada, US and UK several years ago, many global institutions are fairly evolved and are connected to the industry. So, I think most of these institutions coming to India to create skills or hire are welcome because at the end of the day, our industry has to learn few best practices from them as well Most of our Doctorates in media studies are done in global universities… There has been almost non or very little research even on the kind of music ‘gharanas’, composers and lyrics writers we had in the last 50, 100 or 200+ years. The film music in the era between 1950s and 1980s is mind boggling. In fact, every Indian will always be connected to the music of that era. 1980s to 2000 was a different era and 2000 onwards, it’s a different era. I think we have a lot to offer but somebody needs to put the research and analytics together to see how it’s impacting our society and strengthen the image and brand India. In many other countries, India is known for its films. They definitely know about Indian film content and great actor from India. IIFA has done a good job in promoting and positioning this Indian soft power. I think that’s where we need to really see us heading. If you see countries like the US, Canada, UK, France, Japan, and South Korea, media and entertainment is probably amongst the top five or six industries contributing to the economy through export. We have 105 years of history. We are great storytellers but still very inward looking. I think the time has come that we actually take steps towards creating original intellectual property, and while creating IP export to bring in more business to India. Currently India is more focused and
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Ashish SK
known for providing creative services and software services. Should these clusters?
institutions
be
in
I think the cluster formation for media and entertainment in our industry is very important because a group of skills together can create what needs to be delivered. M&E is unlike other production pipelines like car manufacturing, vaccine manufacturing or FMCG manufacturing where you have a manufacturing pipeline, machines and people and people manage those machines to deliver the same thing again and again. In the media and entertainment space every single scene is different - every frame created in a scene is different, which is delivered with a different composition of ideas, technologies and skills. As we move forward, the complete process will have to actually be at the places where the clusters are. And luckily in India, the clusters are in Mumbai, Pune, Chennai, Hyderabad, Bangalore, Cochin, Trivandrum, Ahmedabad, Kolkata, Chandigadh, Patna some parts of Lucknow and North East. We have some films produced in Odisha and in Chattisgari films are now being created in Raipur. We also have a Punjabi film industry in Chandigarh and NCR is very strong in terms of news networks. So, the complete ecosystem of media and entertainment along with the news delivery happens out of these places. Hence the clusters at these places with a proper infrastructure will boost the industry in many ways.
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When it comes to developing academic facilities, there are certain things that would go as per the curriculum, but there are many things that people do have to learn from ideation to script and script to screen and all the other nuances by being associated with the live projects. I give you an example of Whistling Woods International, because I was involved with the institute right from the beginning. The way Subhash Ghai and the team set it up was right in the middle of the industry. And not a single week passes there when a person who has created film, written film or acted in a film is not visiting the campus. Most of the learning comes from these live examples. Do you see existing media professionals pursuing Academic career. This can also be a new career option for people who have lost jobs? Do you see media professionals getting to academics in future? It’s a very pertinent question. I think meritorious people should actually join a career in academics because they’re so good with their subjects that they can teach extremely well. I think we should encourage them to become professors or teachers because they can deliver that subject in the best possible way. I also think the profession of teaching needs to be given its due respect. The status, dignity and recognition to
the teaching professional must be enhanced and highlighted. I think more young people need to make teaching as a career choice especially in media and entertainment sector. Even though I run studios, I send my core team members to become faculty for four or five years in universities and education institutions where I help setup Media and entertainment verticals. They are given a choice to go back and forth to have industry as well as academic exposure. This formula works the best for our Media and Entertainment industry. Do you think that the new media policy offers more open and flexible programs? Whatever I have read in the new policy so far, it seems to be fairly open. It talks about graded autonomy. With this kind of autonomy and the academic-industry connect, one should be able to solve any problem. I think it’s time for India that we should be able to find solutions through research, innovation, collaborations and partnerships between industry - academia for our problems within India. At the end of the day we Indians are great story tellers, our stories exists for over 5000 and 7000 years. We are known for creating best IT solutions. The right foundation - making use of the New Education Policy 2020, we can aim for the best and work together to achieve the same.
We are great storytellers but still very inward looking. I think the time has come that we actually take steps towards creating original intellectual property, and while creating IP export to bring in more business to India. Currently India is more focused and known for providing creative services and software services Ashish SK
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VIRTUAL LOCARNO PRO 2020
Locarno Pro offers growth
opportunities Valentina Merli and her team has put together a programme that would benefit the local Swiss film industry as well as global independent filmmakers
T
he Locarno Film Festival’s Locarno Pro industry side will have a strong virtual presence from August 5-11 offering opportunities for discussion, professional meetings on co-production and screenings to film industry professionals as a clear signal that the pandemic will continue to bring industry professionals under one umbrella. The 73rd Locarno Festival will take place from 5 to 15 August 2020. Locarno Pro 2020 will be a virtual territory of meetings, exchanges and growth for auteur film professionals. “Industry professionals across the world will get to meet online and work towards a fresh start. The Locarno 2020 – for the Future of Films is a special edition, due to the Covid-19 situation, to continue
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to support and help independent cinema from all over the world. This is also what we want to do with Locarno Pro. It is important for us to maintain the presence in difficult moments,” says Valentina Merli, head of Locarno Pro. This is the first market for Valentina Merli as head of Locarno Pro. She has taken over from Nadia Dresti, who continues to work with the Locarno Festival as a Festival’s International Advisor. Valentina Merli and her team has put together a programme that would benefit the local Swiss film industry as well as global independent filmmakers. “We think that being online allow us to have a wider international professional audience, this is its main advantage,” says Valentina Merli in a Zoom chat with Pickle.
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The Locarno 2020 – for the Future of Films is a special edition, due to the Covid-19 situation, to continue to support and help independent cinema from all over the world. This is also what we want to do with Locarno Pro. It is important for us to maintain the presence in difficult moments Locarno Pro will aim to enhance and deepen connections between the diverse players across the world. For seven days from August 5 to 11, Locarno Pro will propose initiatives and events that will accompany the industry in examining an undoubtedly difficult year, while seeking to develop ideas and proposals with an eye to the future, thus contributing to the overarching mission of Locarno 2020 – For the Future of Films. Locarno Pro 2020 has also given Valentina Merli and her team an opportunity to think out of the box and reinvent activities. They have moved beyond discussing Covid-19 impact, but bring some visible changes to cinema, industry professionals and filmmakers. Major highlights of Locarno Pro 2020 includes the ninth edition of the annual think-tank meeting StepIn; a roundtable to mark the launch of Locarno’s Heritage Online initiative; the SwissBiz Roundtable, aimed at the local film industry; and the Open Doors co-production platform and producers Lab. “Heritage Online is a digital tool that extends the outreach and distribution of Heritage Films through VoD (Video on Demand), thereby significantly expanding the range of titles offered by such services,” explained Valentina Merli. StepIn is one of the most renowned international think tanks imagining and discussing the way forward for the film industry. The virtual event will be hosted this year in the Variety Streaming Room, consisting of three 50-minute sessions taking place during the first three days of Locarno Pro (5-7 August, each starting at 5 pm Central European Time). These will deal, respectively, with the future of the theatrical distribution, the state of independent film production, and the future of film festivals and markets.
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Valentina Merli Head of Locarno Pro.
Each session will be moderated by key journalists from Variety and will involve top international speakers from varied sectors of the film industry, such as, to name a few: Producer Rodrigo Teixeira (‘Call Me By Your Name’, ‘Port Authority’); NEON’s President of Distribution Elissa Federoff; Film4’s Director Daniel Battsek; Director/Writer Kasi Lemmons (‘Harriet’); Marche du Cannes’ Executive Director Jérôme Paillard; and important Film Festival Directors such as Alberto Barbera (Venice Film Festival), Lili Hinstin (Locarno Film Festival) and Tabitha Jackson (Sundance Film Festival). The SwissBiz Roundtable will bring local Swiss cinema professionals together on August 10 for a discussion on the challenges facing the film sector in the aftermath of corona virus pandemic and way forward. This roundtable will offer professionals in the Swiss film industry an analysis of this delicate historical moment in order to understand the trajectories and strategies that can help keep alive national auteur cinema. Five players of the Swiss industry moderated by Pascaline Sordet (Cinébulletin) will intervene as speakers: Joel Fioroni (Exhibitor, LUX art house), Andreas Furler (Founder and Managing Director, Cinefile), Karin Koch (Producer, Dschoint Ventschr Filmproduktion), Jela Škerlak (Head of Exhibition and Diversity and Eurimages Representative, Federal Office of Culture (FOC)), Thierry Spicher (Distributor, Outside The Box). The Locarno Pro 2020 program has been supported by the Federal Office of Culture (FOC) / MEDIA Desk Suisse and the collaboration of the Swiss Agency for Development and Cooperation SDC of the Federal Department of Foreign Affairs for the Open Doors section.
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CO-PRODUCTION HUB
Doors open for
Open Doors The Open Doors 2020 edition underlines the great narrative and creative richness of Mongolian and South-East Asian Cinema as well as the urgent need for filmmakers from this region to share their visions of their contemporary societies
O
pen Doors is the Locarno Pro initiative that for eighteen years has aimed to foster independent cinema and showcase directors and films from countries in the Global South and East. This year the initiative continues its three-year focus (2019-2021), inaugurated last year, dedicated to South East Asia and Mongolia, using digital technology to the full to allow cinemas and filmmaking talents in the region to gain a greater foothold in the international scene and to offer a more inclusive and collaborative regional working platform. “The Open Doors 2020 edition underlines the great narrative and creative richness of Mongolian and South-East Asian cinema as well as the urgent need for filmmakers from this region to share their visions of their contemporary societies, in search of a new identity, torn between the weight of the past, traditions, for some their first steps into democracy, and the major and rapid changes of the 21st century - subjects that are all the more
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topical in this period of global crisis,” says Sophie Bourdon, Head of Open Doors. For this edition, Open Doors Screenings will be concentrating on the cinemas of Indonesia, the Philippines, Malaysia and Myanmar, as part of the three-year cycle (2019-2021) focused on South-East Asia and Mongolia. Head of Open Doors Sophie Bourdon says: “This program showcases the region’s impressive inter-generational dynamism, presenting on the one hand the work of young talents, especially in the field of the short film in a variety of forms, and on the other a range of fulllength features awaiting rediscovery, made by directors who over the years have established themselves on the international circuit.” The Mongolian and Southeast Asian delegations will be presented to the international industry players during Locarno 2020 as part of the following activities: The coproduction platform Open Doors Hub, introducing eight distinctive projects from the region for international collaborations. The Open Doors Lab, highlighting nine production talents who proactively contribute to the development of their local, independent film community and to the emergence of young, singular voices in the region. The 20 titles (10 full-length and 10 short films) in the Open Doors Screenings will be available for viewing worldwide, exclusively online, during the Festival from 5 through 15 August, on the website of the Locarno Film Festival. The screenings will be accompanied by conversations between each film’s director and the Open Doors programmers.
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The Open Doors 2020 edition underlines the great narrative and creative richness of Mongolian and South-East Asian cinema as well as the urgent need for filmmakers from this region to share their visions of their contemporary societies, in search of a new identity, torn between the weight of the past, traditions, for some their first steps into democracy, and the major and rapid changes of the 21st century - subjects that are all the more topical in this period of global crisis The complete list of full-length films selected is as follows:
Apparition (Aparisyon), by Isabel Sandoval – Philippines/USA– 2012 Atambua 39° Celsius, by Riri Riza – Indonesia – 2012 Clash (Engkwentro), by Pepe Diokno – Philippines – 2009 Memories of My Body (Kucumbu Tubuh Indahku), by Garin Nugroho – Indonesia – 2018 Sell Out!, by Yeo Joon Han – Malaysia – 2008 Six Degrees of Separation from Lilia Cuntapay, by Antoinette Jadaone – Philippines – 2011 Songlap, by Effendee Mazlan and Fariza Azlina Isahak – Malaysia – 2011 Tender Are the Feet, by Maung Wunna – Myanmar – 1973 The Masseur (Masahista), by Brillante Mendoza – Philippines – 2005 What They Don’t Talk About When They Talk About Love, by Mouly Surya – Indonesia – 2013
The line-up of short films is:
A Gift (Kado), by Aditya Ahmad – Indonesia – 2018 Babylon, by Keith Deligero – Philippines – 2017 High Way, by Chia Chee Sum – Malaysia – 2018 Liar Land, by Ananth Subramaniam – Malaysia – 2019 Listen, by Min Min Hein – Myanmar/ USA/Japan – 2017 Man of Pa-Aling (Manong ng Pa-Aling), by E del Mundo – Philippines/USA– 2017 No One is Crazy in This Town (Tak Ada yang Gila di Kota Ini), by Wregas Bhanuteja – Indonesia – 2019 On Friday Noon, by Luhki Herwanayogi – Indonesia – 2016 The Ruby, by Ling Low – Malaysia – 2019 Void, by Mg Bhone – Myanmar – 2018
Through the Open Doors
One of the brand-new items at Locarno
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Sophie Bourdon Head of Open Doors.
2020 – For the Future of Films is a first ever look back over the discoveries made by Open Doors in its eighteen years of film exploration. Through the Open Doors includes ten full-length features that in the past were either presented to audiences at the Locarno Film Festival or were projects completed after being selected for one of Open Doors’ industry programs.
The ten films selected are:
Made in Bangladesh, by Rubaiyat Hossain –France/Bangladesh/Denmark/ Portugal – 2019 (Swiss Premiere, Opening Film at FIFDH – International Film Festival and Forum on Human Rights, Geneva) Necktie Youth, by Sibs Shongwe-La Mer – South Africa/Netherlands – 2015 Keep Smiling (Gaigimet), by Rusudan Chkonia – Georgia/France/ Luxembourg – 2012 On the Edge (Sur la planche), by Leila Kilani – Morocco/France/ Germany – 2011 Winter Vacation (Han Jia), by Li Hongqi – China – 2010 Teza, by Haile Gerima – Ethiopia – 2008 Madeinusa, by Claudia Llosa – Peru – 2006 I am the One Who Brings Flowers to Her Grave (Ana alati tahmol azouhour ila qabriha), by Hala Alabdalla – Syria/ France – 2006 Kairat, by Darezhan Omirbaev – Kazakhstan – 1992 Yeelen (Brightness), by Souleymane Cissé – Mali – 1987 Open Doors is made possible by the collaboration of the Swiss Agency for Development and Cooperation (SDC) of the Federal Department of Foreign Affairs (FDFA), which joins with the Locarno Film Festival in supporting filmmakers from the Global South and East involved in the event’s various programs. The selection of films presented by Open Doors has been curated by Paolo Bertolin and Delphine Jeanneret of the Open Doors team, together with Artistic Director Lili Hinstin.
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Heritage goes online
STREAMING CLASSICS
ONLINE
Heritage Online is an innovative service offered by Locarno Pro, with the aim to expand the horizons of Video On Demand and its global catalogue in order to include the past
F
or the Future of Films, Locarno Pro remains an international hub for the independent film industry even in this “standby” year. The virtual Locarno Pro will launch Heritage Online, which aims to fill a void within the international film industry, with a platform where past and future go hand in hand. Heritage Online is an innovative service offered by Locarno Pro, with the aim to expand the horizons of Video On Demand and its global catalogue in order to include the past. This unprecedented tool, a connective tissue that was previously unavailable to the international industry, will ideally bring the Lumière brothers next to the Marvel heroes. Thanks to Heritage Online, rights holders (international sales agents, film archives, institutes, restoration companies) will be able to share their catalogues with potential
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clients, that is to say VOD platforms, from the giants in the field to smaller entities. By accessing this database of international film history, streamers will be able to view detailed information, including specifics concerning rights, and watch the submitted films. Locarno Pro is launching Heritage Online Platform enabling distribution of Heritage Films connecting right holders of classic films (premiered before 2006) and online OTT and VoD platforms. During the days of Locarno Pro, on August 8, the catalogues of a selection of companies and institutions participating to Heritage Online will be promoted through a newsletter and the website. Moreover, the topic of heritage and library films’ distribution on streaming services will be discussed in a Round Table that will be streamed online on August 8.
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Quick chat with Markus Duffner, Heritage Online Project Manager
What’s the objective behind this? Will it continue beyond Locarno Pro Days? With the absence of DVD distribution in favor of a dominating Online Streaming market - the distribution window that was dedicated to Heritage Films has shifted towards the second option. However, we think that Streaming Platforms are still looking mainly for recent and new content, rather than filling this gap left by the growing absence of DVDs. There are of course some great exceptions (MUBI, Criterion Channel, i.e.,) and our aim is to connect the Heritage Right Holder with Streaming content buyers (also Theatrical, TV, DVD buyers, Festivals and other film professionals can register to Heritage Online) through a yearround online Database dedicated to Heritage and library content (eligible titles are those that have premiered before 2006). “We believe that this initiative can really increase the circulation of Heritage and Library Films in what we think will soon be (or is already in most territories) the new standard for Home Video: Streaming Services,” says Heritage Online Project Manager Markus Duffner. “Locarno Pro is always responsive to the needs of industry professionals. Its mission is to create tools that help people in cinema to work even more effectively. Our new project Heritage Online fills a gap in the audiovisual industry landscape and will foster links between rightsholders, VOD platforms and world cinema distribution,” says Duffner. Heritage Online is a B2B platform and Heritage Films right holders can do a selection of their catalogue on the platform for a basic subscription of chf85 (Approx Rs 6400) A premium subscription priced
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What’s the response participating countries?
among
We have launched only a couple of weeks ago, but we already count registered users from all continents. We got a great feedback from both Right Holders and Streamers (VOD Platforms) since the early days of the project and we’re receiving more requests every day. I believe that the project will live throughout the year, gaining more and more importance with time. Will Cinemalovers be able to watch films from Heritage Online? The Online Database and its Screening Room is only accessible to film professionals with a registered account. I believe many of us in this industry are also cinemalovers (smiles).
at chf160 (Rs 12,000) for enables right holders to include one film in the Online Screening Room, where potential clients have the chance of streaming a selection of titles. Subscription for VoD broadcasters is free. By creating a private account via free sign-up, they will be able to access the database and, like all other professionals with an account, take part in virtual meetings, pitches and roundtables. Starting in 2021, Heritage Online will be available via yearly subscription or a Locarno Pro accreditation. Heritage Online offers film professionals a year-round database where streamers (and other buyers) will be able to watch available titles, consult their detailed technical information, including availability of films in the various territories, and get in touch directly with rights holders.
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77th VENICE INTERNATIONAL FILM FESTIVAL
Indian trio in
For the first time, three Indian films have been selected at the Venice Film Festival – Chaitanya Tamhane’s Marathi movie The Disciple (Golden Lion Competition Section), Ivan Ayr’s Punjabi film Meel Patthar (Orizzonti Features Competition) and Sushma Khadepaun’s Gujarati flick Anita (Short Films Competition) By Saibal Chatterjee
Chaitanya Tamhane The Disciple (Marathi) Venezia 77 Competition
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Ivan Ayr
Meel Patthar (Punjabi) Orizzonti Features competition
Sushma Khadepaun
Anita (Gujarati) Orizzonti Short Films Competition
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Chaitanya Tamhane’s Marathi movie The Disciple
Chaitanya Tamhane’s Court was screened in Venice Film Festival’s Orizzonti in 2014
The Disciple has been a true labour of love, and collectively we have poured every ounce of energy, effort, and love into it over the last four years. It has been a beautiful collaboration and I’m thankful to all of the film’s extremely dedicated actors and the entire crew. I am relieved and happy that it has found such a great start for its journey even in these tough times
I
t has been a terrible year thus far. Pandemic-struck, the entire world has ground to a halt. Filmmaking has been put on hold, cinema halls are shuttered, and festivals have been thrown off gear. But The Disciple has pulled off a miracle. Amid the gloom, Chaitanya Tamhane’s sophomore outing has ended a nearly twodecade-long drought for India cinema. The first film from the subcontinent in competition in one of the ‘Big Three’ festivals – Cannes, Venice and Berlin – in 19 years, The Marathi-language film will be vying with 17 other films for the 77th Venice Film Festival’s Golden Lion. The jury is headed by Cate Blanchett. The Disciple is set in Mumbai but in a milieu far removed from Court, Tamhane’s debut.The 2014 film examined the anomalies of the Indian judicial system, weaving the tale around the death of a manhole cleaner, the plight of a protest singer who is accused of inciting suicide and the question of freedom of expression. The Disciple, the synopsis indicates, is set in the rarefied world of Indian classical music. Tamhane, 33, is of course no stranger to Venice. His uberrealistic courtroom drama Court not only played in Orizzonti in 2014, it won the section’s Best Film prize in addition fetching the director the Luigi De Laurentiis Award. The synopsis of The Disciple reads: “Sharad Nerulkar has devoted himself to becoming an Indian classical vocalist, a lifelong quest in which few succeed. Initiated into this centuriesold tradition by his father, he follows his dream with sincerity and discipline, committing himself entirely to his artistic journey.
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“As he strives to attain the highest level of his craft, Sharad traces his way through the hallowed mysteries and rituals of past musical legends. But as the years pass, Sharad will be forced to negotiate between the complex realities of life in contemporary Mumbai and his chosen path, leading him to find his true voice in music and in life.” In a press release, Tamhane has said: “This is an important milestone for not just for us but also for the Indian independent cinema movement. The Disciple has been a true labour of love, and collectively we have poured every ounce of energy, effort, and love into it over the last four years. It has been a beautiful collaboration and I’m thankful to all of the film’s extremely dedicated actors and the entire crew. I am relieved and happy that it has found such a great start for its journey even in these tough times.” Wouldn’t it be wonderful if The Disciple goes all the way and scoops up the Golden Lion? The importance of the Venice Competition slot for Tamhane’s film obviously lies in the fact that the last time an Indian was here was way back at the turn of the millennium. Felicitously, that film, Mira Nair’s Monsoon Wedding (2001), went on to win the festival’s top prize. Not to forget, the year before, a Bengali film, Buddhadeb Dasgupta’s Uttara (The Wrestlers, 2000), was in the Venice Competition and it earned the filmmaker the Special Director Award. If The Disciple returns with an award, it would be three-ina-row for India. In case you wish to look for any other positive signs in favour of The Disciple, it could be this: Satyajit Ray’s 1957 Golden Lion winner, Aparajito (The Unvanquished) was also the director’s second film. Among the films that Aparajito beat on the way to gold was Akira Kurosawa’s Throne of Blood. So, what is The Disciple up against? A spread of films that are amazingly diverse and imposing, including Michel Franco’s Nuevo Orden, Amos Gitai’s Laila in Haifa, Andrei Konchalovsky’s Dear Comrades, Kiyoshi Kurosawa’s Wife of a Spy, and Gianfranco Rosi’s documentary about life at night in the Middle East, Notturno.
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Ivan Ayr’s Punjabi film Meel Patthar
Ivan Ayr’s first film, Soni, was in Venice Film Festival’s Orizzonti in 2018
“Meel Patthar,” Ivan Ayr says,“is a very personal story of just one character. I say it is personal because many of the elements come from own experiences with my extended family. I have extended family in India, the US and Canada who are in the transportation business.”
India will have two other shots at Venice glory this year – in the Orizzonti features competition with Ivan Ayr’s Meel Patthar (Milestone) and the section’s short films competition with Sushma Khadepaun’s Anita. In Ayr’s 98-minute Hindi/Punjabi film Milestone, one of 19 titles in Orizzonti competition, the past catches up with a truck driver in his 50s. “He has got to a point where he is well respected in his company but the future appears very uncertain,” the director says. The film looks at how that “sometimes gets him desperate and reveals bit by bit his inner fears, his life choices and his journey.” Among the other films in Orizzonti competition are Lav Diaz’s Lahi, Hayop, Gia Coppola’s Mainstream, Uberto Pasolini’s Nowhere Special and Adilkhan Yerzhanov’s Yellow Cat. Ayr’s first film, Soni, was in Orizzonti in 2018. The director was at the Berlinale earlier this year to pitch his “second film”, but he had another film in the works that he talked about. That is where Venice got wind of Meel Patthar, which Ayr competed five or six days before he flew to Berlin. “I showed them an initial director’s cut. In fact, I hadn’t even told them I was working on a film. Word just got to them, probably because I talked about the film to everyone I met in Berlin,” say Ayr. “Meel Patthar,” Ayr says,“is a very personal story of just one character. I say it is personal because many of the elements come from own experiences with my extended family. I have extended family in India, the US and Canada who are in the transportation business.”
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Sushma Khadepaun’s 17-minute Gujarati short Anita
Sushma Khadepaun’s 17-minute Gujarati short Anita
Meel Patthar has Punjabi actors Suvinder Vicky (from Gurvinder Singh’s Chauthi Koot) and Lakshvir Saran. Sushma Khadepaun’s 17-minute Gujarati short Anita was conceived as a feature-length film about a woman looking for freedom through an arranged marriage in the US. But things do not pan out as she expects them to and she finds herself trapped, completely dependent on her husband. The director says that the story of the film “comes from personal experience”. She adds: “What the short film is asking is: is it possible to go away completely from where and with what you have grown up?” “It is still evolving,” the New York City-based director says. “I am working on expanding the protagonist’s relationship with her husband. The short film has emerged from that process.” Anita was filmed near Valsad with mostly Gujarati actors. “Only Aditi (Vasudev) does not speak Gujarati. I cast her a year before the film was made. She learnt the language,” says Khandepaun.
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“A platform like Venice gives the film a push and opens up the possibility of it finding a wider audience,” says Sushma Khadepaun. “In fact, given the situation we are all in, just the thought of being able to see the film play on a big screen is exciting.”
Film Bazaar backs emerging filmmakers Many of the subcontinent’s most applauded, well-travelled contemporary films and festival films have taken shape – and wings – on National Film Development Corporation’s Film Bazaar platform that has made mentoring and networking facilities available to emerging filmmakers. All three Indian filmmakers -Chaitanya Tamhane, Ivan Ayr and Sushma Khadepaun -- who have made it to Venice Film Festival 2020 have had their film journeys and mentoring at Film Bazaar. Chaitanya Tamhane’s Court was part of the Film Bazaar CoProduction Market in 2012. Ivan Ayr’s Soni was part of the Work in Progress Lab in 2017. Sushma Khadepaun’s Sabras was in Co-Production Market in 2019. As an incubator of new film projects in India and the rest of the subcontinent, the NFDC Film Bazaar, now in its 14th year, has rendered yeoman service by engendering an ecosystem that allows originality to thrive while not losing sight of tried and tested ground rules that have proven beneficial.
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PICKLE CRITICS PICK
18 MUST-SEE FILMS AT VENICE 2020 After months of cancellations and postponements necessitated by the ongoing pandemic and lockdowns, big screens will flicker to welcome back international cinema at the 77th Venice Film Festival. Of course, the 2020 edition of the world’s oldest film festival has fewer films, curtailed sections, socially-distanced screenings and masked audiences. The raft of restrictions will be a bit of a dampener all right but the fact that a major celebration of cinema is finally going ahead, if only in the form of a scaled down version, is a cause for cheer. It may not be business as usual, but business it will be.
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Venice PICKS German director Julia von Heinz is in Competition with this film, a timely drama set against a backdrop of racist violence in Germany. The female protagonist is a member of an anti-fascist front that is violently opposed to the neo-Nazis. As the situation worsens, she and her friends are forced to go into hiding. The film is the first feature of the production company set up by the filmmaker.
Competition UND MORGEN DIE GANZE WELT (And Tomorrow the Entire World)
Director: Julia von Heinz Country: Germany, France Language: German Cast: Viola Pusateri, Eleonora De Luca, Simona Malato, Susanna Piraino, Serena Barone, Maria Rosaria Alati, Anita Pomario, Donatella Finocchiaro, Ileana Rigano, Alissa Maria Orlando, Laura Giordani, Rosalba Bologna
Top-flight Russian director Andrei Konchalovsky’s black-and-white Competition entry is an account of a real-life 1962 massacre of Soviet workers demonstrating for better working conditions in the town of Novocherkassk. The incident was covered up by the Soviet regime. It came to light only in 1992 after the fall of communism in Russia.
Director: Andrei Konchalovsky Country: Russia Language: Russian Cast: Julia Vysotskaya, Vladislav Komarov, Andrei Gusev, Yulia Burova, Sergei Erlish
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Competition DOROGIE TOVARISCHI! (Dear Comrades)
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Venice PICKS Israeli auteur Amos Gitai is in Competition with Laila in Haifa. The story, which interweaves the experiences of five women, unfolds over one night in a club in the port town of Haifa. The French-Israeli co-production provides a snapshot of one of last remaining spaces in the country where Israelis and Palestinians can still freely interact.
Competition LAILA IN HAIFA
Director: Amos Gitai Country: Israel Language: Hebrew Cast: Maria Zreik, Khawla Ibraheem, Bahira Ablassi, Naama Preis, Tsahi Halevi, Makram J. Khoury
French actress-directorscreenwriter Nicole Garcia’s ninth feature, a thriller revolving around a love triangle, competes for the Golden Lion. In Paris, a woman, while on vacation with her husband, revives a passionate liaison with her former boyfriend. The dalliance threatens to lead to a murder. Amants stars Stacy Martin, Pierre Niney and Benoit Mogimel.
Director: Nicole Garcia Country: France Language: English Cast: Pierre Niney, Stacy Martin, Benoît Magimel
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Competition AMANTS (Lovers)
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Venice PICKS One of four Italian titles in the Competition lineup, Miss Marx, directed by Susanna Nicchiarelli, is biopic about Karl Marx’s youngest daughter, Eleanor, played by RamolaGarai. A woman of exceptional drive as a social activist and women’s rights champion, her life was torn asunder by a passionate and tragic love affair.
Competition MISS MARX
Director: Susanna Nicchiarelli Country: Italy, Belgium Language: English Cast: Romola Garai, Patrick Kennedy, John Gordon Sinclair, Felicity Montagu, Karina Fernandez, Oliver Chris, Philip Gröning Giordani, Rosalba Bologna
This Competition title is a Polish-German coproduction helmed by Malgorzata Szumowska and Michal Englert. It tells the story of a Ukrainian migrant working a masseur in Poland who becomes a guru-like figure in the gated community where her clients live.
Director: Małgorzata Szumowska, Michał Englert Country: Poland, Germany Language: Polish Cast: Alec Utgoff, Maja Ostaszewska, Agata Kulesza, Weronika Rosati, Katarzyna Figura, Andrzej Chyra
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Competition NIEGU JUŻ NIGDY NIE BĘDZIE Never Gonna Snow Again
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Venice PICKS California-based Chinese director Chloe Zhao’s competes for the Golden Lion with her third feature. The cast of the road movie is led by Oscar-winning actress Frances McDormand and Academy Award-nominated actor David Strathairn. McDormand plays a woman in her 60s who, after losing everything in the Great Recession, embarks on a journey through the American West living as a van-dwelling nomad.
Competition NOMADLAND
Director: Chloé Zhao Country: United States Language: English Cast: Frances McDormand, David Strathairn, Linda May, Swankie, Bob Wells
Mexican director Michel Franco’s sixth feature is the only film from Latin America in the Venice Competition. The film, set in the near future, is about a high society wedding invaded by a group of seemingly poor people. It is a harrowing portrait of economic disparity and a society where violence has been normalized.
Director: Michel Franco Country: Mexico, France Language: spanish Cast: Naián González Norvind, Diego Boneta, Mónica Del Carmen, Fernando Cuautle, Darío Yazbek, Eligio Meléndez
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Competition Nuevo Orden (New Order)
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Venice PICKS Hungarian director Kornel Mundruczo’s seventh feature and first Englishlanguage film is an AmericanCanadian production. Pieces of a Woman, a Golden Lion contender, revolves around a mother who has lost her child after an ill-fated home birth. The tragedy has severe ramifications on her relationship with her husband and her estranged mother. The film stars Shia LeBeouf, Vanessa Kirby, Ellen Burstyn and Sarah Snook.
Competition Pieces of a Woman
Director: Kornél Mundruczó Country: Canada, Hungary Language: English Cast: Vanessa Kirby, Shia LaBeouf, Ellen Burstyn, Jimmie Fails, Molly Parker, Sarah Snook, Iliza Shlesinger, Benny Safdie
Iranian auteur Majid Majidi’s new film centres on a 12-year-old boy Ali and his three friends. To support their family, they work in a garage and resort to petty crime. Matters take a turn when Ali is entrusted with the task of finding an underground treasure. But to do so he must enrol in charitable institution for street children.
Director: Majid Majidi Country: Iran Language: Persian Cast: Ali Nasirian, Javad Ezzati, Tannaz Tabatabaie, Rouhollah Zamani, Seyed Mohammad Mehdi Mousavi Fard, Shamila Shirzad
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Competition KHORSHID (Sun Children)
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Venice PICKS The Palermo-set drama directed by playwright and actress Emma Dante is about a closely-knit group of five sisters whose lives are thrown into disarray following a tragic beach accident. The film, which is in Competition, is an adaptation of Dante’s own 2014 play. Her first film, A Street in Palermo (2013), won a clutch of prizes of Venice.
Competition La Sorella Macaluso (The Macaluso Sisters)
Director: Emma Dante Country: Italia Language: Italian Cast: Viola Pusateri, Eleonora De Luca, Simona Malato, Susanna Piraino, Serena Barone, Maria Rosaria Alati, Anita Pomario, Donatella Finocchiaro, Ileana Rigano, Alissa Maria Orlando, Laura Giordani, Rosalba Bologna
An adaptation of a short story by Jim Shepard, Venezia 77 Competition title The World to Come is directed by the Brooklynbased Norwegian director Mona Fastvold. The film, set in mid-19th century American East Coast, is about two neighbouring couples who battle hardships that are aggravated by isolation. Casey Affleck, Vanessa Kirby, Katherine Waterston and Christopher Abbott star in The World to Come.
Director: Mona Fastvold Country: United States Language: English Cast: Katherine Waterston, Vanessa Kirby, Christopher Abbott, Casey Affleck
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Competition THE WORLD TO COME
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Venice PICKS Cult Japanese director Kiyoshi Kurosawa, best known for his forays into horror and the supernatural, tackles wartime Japan for the first time in this drama that will compete for the Golden Lion. In the 1940s, a merchant leaves his wife behind and travels to Manchuria, where he witnesses an act of barbarism. The man’s subsequent actions trigger trouble for him and his wife.
Competition SPY NO TSUMA (Wife of a Spy)
Director: Kiyoshi Kurosawa Country: Japan Language: Japanese Cast: Yu Aoi, Issey Takahashi
The first Italian film since 2009 to open the Venice Film Festival, Daniele Luchetti’sLacci, based on a 2017 novel of the same title written Domenico Starnone is about a marriage threatened by infidelity, bitter recriminations, agony and contrition. The film’s cast is led by Alba Rohrwacher and Luigi Lo Cascio. Lacci, set in 1980s Naples, plays Out of Competition.
Director: Daniele Luchetti Country: Italia Language: Italian Cast: Alba Rohrwacher, Luigi Lo Cascio, Laura Morante, Silvio Orlando, Giovanna Mezzogiorno, Adriano Giannini, Linda Caridi
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Out of Competition LACCI (The Ties)
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Venice PICKS Another Out of Competition title, this non-fiction film by veteran American director Abel Ferrara was during quarantine. It is about the filmmaker taking his previous feature Siberia for its world premiere at the Berlinale in February before the Coronavirus pandemic brought the world to a halt. Sportin’ Life features Ferrara’s frequent collaborator, actor Willem Dafoe.
Out of Competition SPORTIN’ LIFE
Director: Abel Ferrara Country: Italia Language: English Cast: Willem Dafoe, Cristina Chiriac, Anna Ferrara, Paul Hipp, Joe Delia
Playing Out of Competition, British theatre, television and film director Roger Michell’s The Duke, which brings to the big screen the true story of a 60-yearold taxi driver (played by Jim Broadbent) who stole a Francisco Goya painting from National Gallery and demanded as ransom free TV for the elderly. The film also has Helen Mirren in a stellar role.
Director: Roger Michell Country: United States Language: English Cast: Jim Broadbent, Helen Mirren, Fionn Whitehead, Matthew Goode, Anna Maxwell Martin
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Out of Competition THE DUKE
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Venice PICKS Gia Coppola’s Orizzonti title, through a story set in Los Angeles and centered on a love triangle, questions the devastating power of social media. The cast of the American film features Spider-Man star Andrew Garfield, Maya Hawke, Nat Wolff and Jason Schwartzman. Coppola previously directed the critically acclaimed Palo Alto.
Orizzonti MAINSTREAM
Director: Gia Coppola Country: United States Language: English Cast: Andrew Garfield, Maya Hawke, Nat Wolff, Jason Schwartzman
Italian producer and director Uberto Pasolini, known for producing The Full Monty, directs James Norton as a window cleaner unwaveringly committed to his three-year-old son. When he is given months to live, he attempts to find a new family for the three-year-old. Nowhere Special, filmed in Northern Ireland, is in Venice Orizzonti.
Director: Uberto Pasolini Country: Italy, Romania, United Kingdom Language: English Cast: James Norton, Daniel Lamont
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Orizzonti NOWHERE SPECIAL
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