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LL yW A n nd oo o IC A T d S d r , H AV L rA To ELp Er g y AC E B d g A AC n L n o I SE r r I o To ur xpL TAkIn LM gE g rISkS, IS E L A nT SM THE F F o MES And puLLIng
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INDIA FOCUSED BERLINALE EUROPEAN FILM MARKET ISSUE VISIT INDIA STAND C5 MGB CENTRAL HALL
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e are delighted to present the 13th edition of Pickle at Berlinale and European Film Market 2020. Berlinale, which is celebrating its 70th anniversary this year with over 200 brand new films, has been put together by festival co-directors Carlo Chatrian and Mariette Rissenbeek, who have been working hard to bring freshness to the festival after Dieter Kosslick took his final bow last year. Four films from India are in the Berlin Film Festival programme this year. India also has a strong presence (seven Indian talents) in Berlinale Talents 2020. Indian filmmaker Rima Das is one of the Jury from India at Berlinale for Generation 14Plus. Five Indian films will also be screened in the EFM Screenings. Our hearty congratulations to Meenakshi Shedde, India and South Asia Delegate, Berlin Film Festival for discovering fresh films and talents from India. Beginning this year, Meenakshi will lead as delegate from India at Berlin Film Festival. Over 100 delegates from India are participating at Berlinale and EFM. The Ministry of Information & Broadcasting has set up an India Pavilion at MGB Central Hall in association with Confederation of Indian Industry. The Film Facilitation Office at the Indian Pavilion is ready to provide any guidance on filming in India. The FFO website www.ffo.gov.in is a one-stop source for filming needs in India.
Our cover story in this edition focuses on the Changing Bollywood, highlighting how directors and actors equipped with daring themes are challenging the mass market cinema in India, where enough room is present for the growth of domestic as well as foreign M&E companies. Also, the government policies are geared towards providing an enabling environment and lowering market barriers to propel growth. Do drop in a line to get connected in the Indian M&E business. Meet Pickle at Berlin or do drop in a line to get connected in the Indian M&E business. Feel free to email your thoughts and suggestions.
n vidyasagar pickle media nat@pickle.co.in, www.pickle.co.in
With Indian media ecosystem changing fast, these are exciting times to be in the Indian film business. New ways to produce, distribute and monetize content across Indian M&E landscape are emerging fast.
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70TH BERLINALE’S
EXCITING LINEUP
Berlin International Film Festival will world premiere Onward, the new Pixar animated tentpole. Besides it has various films across the globe in the lineup
The much-awaited Berlin Film Festival’s 70th edition is set to kick start on February 20th and will go on till March 1st. besides the interesting line up of some amazing films, the film festival holds a special place this year around, as it is going to be held under the management of brand new duo, artistic director Carlo Chatrian and executive director Mariette Rissenbeek, who have replaced festival director Dieter Kosslick, who ran the event from 2001-2019. Oscar-winning actor Jeremy Irons will serve as president of the international jury. Helen Mirren is set to receive a lifetime achievement Golden Bear at this year’s event. Another big thing in store for all the film buffs is the world premiere of Onward, the new Pixar animated tentpole from director Dan Scanlon, under ‘Gala’ presentation. The urban fantasy includes the voices of Tom Holland, Chris Pratt, Julia-Louis Dreyfus, Octavia Spencer, Mel Rodriguez, Kyle Bornheimer, Lena Waithe, and Ali Wong. The festival, will screen 18 films in competition, including movies from Kelly Reichardt, Eliza Hittman and Sally Potter,starring Javier Bardem, Elle Fanning and Salma Hayek, and is one of the few star-studded entries in competition this year. Six films out of the lot, are from female directors. US titles in Competition this year include Kelly Reichardt’s new feature First Cow, which premiered last year at Telluride; and Siberia, a non-narrative drama starring Willem Dafoe and directed by Abel Ferrara. While Korean auteur Hong Sangsoois making a comeback at Berlin with his latest, The Woman Who Ran; Christian Petzold will mark his fourth film in Berlin Competition with Undine. Additionally, There Is No Evil from Iranian filmmaker Mohammad Rasoulof, who is not allowed to work legally in his home country, is set to be one of the most political titles of this year’s lineup. Other highlights include Delete History from French helmers Benoit Delepine and Gustave Kerven; Bad Tales; and The Salt of Tears from Philippe Garrel, marking the French director’s first film in Competition at Berlin. The 70th edition of the Berlinale will open with Philippe Falardeau’s anticipated “My Salinger Year,” featuring a powerful female duo, Sigourney Weaver and Margaret Qualley.
Carlo Chatrian, Artistic Director Mariette Rissenbeek, Executive Director Berlin International Film Festival
Besides showcasing work from auteurs from across the globe, this years Berlinale is being waited for one more reason. will be the first time the event has been overseen by not one, but two leaders- Carlo Chatrian, its artistic director and Mariette Rissenbeek, its executive director. The duo has replaced festival director Dieter Kosslick, who ran the event from 2001-2019. Chatrian, who has encountered over 800 films from the whole world for Berlinale 2020, considers the opportunity as an exciting part of his journey. The Italy born artistic director feels that cinema does not enter the fray with the assertiveness of a person who seeks to persuade, instead, it raises issues with which we should engage. While he considers his job of viewing and judging the films as an enormous responsibility, but also fells himself to be privileged to do so. Chatrian also shares that the dual-director concept allowed him to take more hands-on curatorial approach than his predecessor, Dieter Kosslick, who oversaw the festival alone for 18 years. Rissenbeek, who will manage logistics and business part of the event,echoes similar sentiments adding that structure allows people to cope with the amount of work with much ease.
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NEW DIRECTOR DUO TO HELM BERLINALE 2020
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51st IFFI TO MARk
SATyAjIT RAy’S
Centenary Celebrations
The 51st edition of International Film Festival of India (IFFI November 20-28, 2020) is going to mark the 100 years of renowned filmmaker Satyajit Ray. The enigmatic filmmaker was a powerhouse of talent and contributed to the world of cinema as a screenwriter, music composer, graphic artist, lyricist and author, besides being a director. From being ranked 13 in a poll ‘Greatest Bengali of all time’ by BBC in 2004 to receiving an honorary degree by Oxford University, Ray has many acknowledgements to his credits, including 32 National film Awards. He is also the recipient of the DadasahebPhalke Award, the Padma Bhushan and the Bharat Ratna. Some of Ray’s best films that are remembered worldwide are Aranyer Din Ratri, Aparajito, The Big City, Jalsaghar, Teen Kanya, PatherPanchali, the first film from independent India to attract major international critical attention and has to its credit many national and international awards, among others. Ray’s exemplary work has been showcased at prime events like, Moscow International Film Festival, Berlin Film Festival, Venice Film Festival and Cannes Film Festival.
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INDIA@BERLINALE
INDIAN CINEMA’S g N I g R EME VOICES THE FILMS AND TALENTS THAT HAVE MADE IT TO BERLINALE 2020 FROM THE WORLD’S MOST ‘pRODUCTIVE’ MOVIE INDUSTRy REFLECT BOTH DEpTH AND DIVERSITy. IT INSpIRES HOpE. By Saibal Chatterjee
I
t is exciting enough that four titles from the subcontinent are in the Berlin Film Festival programme this year. But no less noteworthy is India’s strong presence in Berlinale Talents 2020. Six filmmakers and technicians from India – Ivan Ayr, Dominic Sangma, Prantik Narayan Basu, Varun Sasindran, Acharya Venu and Mukul Haloi – besides actor Geetika Vidya Ohlyan–have made the cut. What this denotes is that the pool of new Indian talent capable of making international breakthroughs is expanding. Most of the selected Indians are already names known on the festival circuit and beyond. Ivan Ayr’s debut feature Sonireleased
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on Netflix in early 2019 to positive reviews after premiering in the Orrizonti section of the 2018 Venice Film Festival.Geetika Vidya Ohlyan, the only Indian actor in Berlinale Talents 2020, played the lead role in Soni. Dominic Sangma, a filmmaker from Meghalaya’s Garo Hills who trained at the Satyajit Ray Film and Television Institute (SRFTI), Kolkata, began his career with the critically acclaimed Ma’Ama (Moan, 2018). He is now in the process of wrapping up his next film, Rapture, which made the La Fabrique Cinema cut in the 2019 Cannes Film Festival. Acharya Venu, an SRFTI graduate who lensed Ma’Ama, earned the Asian New Talent Award at the 2019
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The timeless story of the proud and beautiful nomadic shepherdess Laila is set against the backdrop of the current Kashmir conflict. A tribute to a very modern female figure, inspired by mystical poetry and traditional songs.
Laila Aur Satt geet
ENCOUNTERS
Monkey repellers such as Anjani have an exceedingly tricky job in downtown New Delhi. With the sensitivity of a documentary and an Indian sense of humour, the film depicts the harsh life of a migrant and subtly mirrors today’s social realities.
Director |Pushpendra Singh Feature Film | 96 mins Gojri, Hindi
pANORAMA
Eeb Allay Ooo!
Director | Prateek Vats’ Feature Film | 97 mins Hindi
After his father’s disappearance, eight-year-old Dighu seeks refuge from loneliness in his imagination and diary entries. Long continuous shots full of wistful beauty tell a tender tale of coping with change and loss.
Sthalpuran
gENERATION kpLUS
They set off, looking for work in far-off places, but disappeared along the way. Inspired by Shiv Kumar Batalvi’s “birha” poetry, the film traces the longing on both sides: on the part of those who are missing, and those that wait for them to return.
gumnaam Din
Director | Ekta Mittal Documentary | 28 mins | Hindi, Punjabi, Chhattisgarhi
BERLINALE SHORTS
Director | Akshay Indikar Feature Film | 86 mins Marathi
Shanghai International Film Festival for his cinematography in the film. Assamese filmmaker Mukul Haloi, who has the much-lauded short film Days of Autumn and the featurelength documentary behind him, is currently prepping for a fiction feature. Kerala-born Varun Sasindran, a software engineer-turned-filmmaker who has a master’s degree from the Sarajevo Film Academy has been to Berlinale before. His short film Omarska, which highlighted the horrors heaped upon the victims of the 1992 Bosnian War, was in the Berlinale shorts competition last year. Film and Television Institute of India-trained Prantik Narayan Basu is another of the Indian filmmakers in this year’s Berlinale Talents who is no stranger to international festivals. In 2017, his short film Sakhisona won a Tiger Award at the International Film Festival of Rotterdam. Basu followed that up with Rang Mahal, which premiered in the Berlin Film Festival in 2019. Last year, the Kolkata-based director received the Hubert Bals Fund for script and project development of his first narrative feature, Dengue. As for the quartet of Indian films in Berlinale 2020, it is lead by Pushpendra Singh’s Laila Aur Satt Geet (The Shepherdess and the Seven Songs). The film will compete for three prizes in the newly-introduced
“pUSHpENDRA SINgH’S LAILA AUR SATT gEET WILL COMpETE FOR THREE pRIzES IN THE NEWLyINTRODUCED ENCOUNTERS SECTION, WHICH IS AIMED AT SUppORTINg “NEW VOICES IN CINEMA” AND pROVIDINg “MORE ROOM TO DIVERSE NARRATIVE AND DOCUMENTARy FORMS IN THE OFFICIAL pROgRAMME.”
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BERLINALE TALENTS FROM INDIA Prantik Basu Geetika Vidya Ivan Ayr Varun Sasindran Mukul Haloi Acharya Venu Dominic Sangma
Director Actor Director Director Director Cinematographer Director
Encounters section, which is aimed at supporting “new voices in cinema” and providing “more room to diverse narrative and documentary forms in the official programme.” Pushpendra Singh’s first feature Lajwanti (The Honour Keeper) played in Berlinale Forum in 2014. Prateek Vats’ Eeb Allay Ooo!, one of the most remarkable Indian films of the year, will screen in Panorama. It had its world premiere at the Pingyao International Film Festival earlier this year.Eeb Allay Ooo!, a stinging social satire that revolves around the plight of a migrant in Delhi who lands the job that requires him to assume the guise of a langur to scare away the monkeys that pose a menace to government buildings and other locations in the national capital. Generation Kplus has Marathi director Akshay Indikar’s Sthalpuran (Chronicle of Space). The director’s first film, Trijya (Radius), premiered in the Shanghai International Film Festival in 2019. The self-reflexive Sthalpuran sees life and its challenges through the eyes of an eight-year-old boy. The Berlinale Shorts programme includes Ekta Mittal’s 29-minute film Gumnaam Din, a film about “missing days from the calendar of Missing people who have left for faraway cities for work”. Guided by Punjabi poet Shiv Kumar Batalva’s ‘birha’ poetry, the film explores “yearnings both from the perspective of the missing and those who wait endlessly”.
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FFO@BERLINALE
FFO ROLLS OUT RED CARpET FOR FOREIgN
FilmmaKers
Film Facilitation Office (FFO), set up by the Ministry of Information & Broadcasting, is at Berlinale 2020 to act as the single point of contact for filmmakers to get all the relevant information about India’s film industry ecosystem, and help them navigate through the maze of permissions, treaties and guidelines of key Central Government Ministries and State Governments
I
ndia, with its huge diversity of cultures, contradictions and paradoxes, is fast emerging on the global film industry map as one of the last frontiers for filmmakers to bring millions of untold stories to live on screen. To facilitate this process, Film Facilitation Office (FFO), set up by the Ministry of Information & Broadcasting under the aegis of National Film Development Corporation, Government of India, is in Berlinale 2020 to reach out to filmmakers and producers interested in filming in India. FFO, as a one-stop solution for all filming needs in India, has been at the forefront of developing a filmfriendly outlook to capitalise on the beautiful shooting locales of the country. FFO will act as the single point of contact for filmmakers to get all the relevant information about India’s film industry ecosystem, and help them navigate through the maze of
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permissions, treaties and guidelines of key central government ministries and state governments. To bring more transparency, coherence and convenience, FFO’s web portal www.ffo.gov. in equips filmmakers to submit their applications online. It enlists India’s co-production treaties with many countries across the world along with guidelines of key central government ministries/ departments, which is often a gamechanger leading to greater ease of navigation, and thereby easing filming in the country. Reflecting the new spirit of India, the portal also has the details of the Nodal Officers of the Indian States and Union Territories to further provide a personal touch to the services on the offer. While the web portal is an endeavour to reach out to the filming fraternity across the globe, the FFO has been proactively trying to achieve creative collaborations on a global scale.
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REGISTER
FILL APPLICATION FORM
1
2
Register yourself with the FFO website (www.ffo.gov.in) to start your application process
Fill out the application form for seeking permission for film shooting in India
In the larger scheme of things, FFO is an important part of the government’s endeavour to serve the flavours of India to the world cinema and disseminate knowledge and entertainment to all sections of the society.
in temporary import of filming equipment. Taking note of this issue, FFO has created a mechanism through which customs clearance process has been smoothened for filmmakers.
Since the launch of FFO, many success stories have emerged to testify for the efficacy of this initiative. For instance, Christopher Nolan’s film Tenet got shooting permissions approved within a week’s time--thanks to facilitation provided by FFO which has drastically reduced the time taken to procure permits for foreign crews.
As the number of films shot in India is going up, a special visa category for foreign film crew has been introduced by the Information & Broadcasting Ministry in consultation with the Ministry of Home Affairs and the Ministry of External Affairs. The ministry officials coordinate with the Indian embassies abroad to help filmmakers get visa clearances faster.
Similarly, for foreign filmmakers, one of the biggest hurdles to shooting in India was the huge cost involved
Also, as foreign filmmakers often want to capture aerial scenes, a separate department has been
SINCE THE LAUNCH OF FFO, MANy SUCCESS STORIES HAVE EMERgED TO TESTIFy FOR THE EFFICACy OF THIS INITIATIVE. FOR INSTANCE, CHRISTOpHER NOLAN’S FILM TENET gOT SHOOTINg pERMISSIONS AppROVED WITHIN A WEEk’S TIME-THANkS TO FACILITATION pROVIDED By FFO WHICH HAS DRASTICALLy REDUCED THE TIME TAkEN TO pROCURE pERMITS FOR FOREIgN CREWS 28 34
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UPLOAD DOCUMENTS
PAY FEES
SUBMIT APPLICATION FORM
3
4
5
Upload script, synopsis of the script, passport details of the crew, details of shooting locations in India & period of shooting
An application fee of INR equivalent to USD 225 needs to be paid online. (For International Productions) The fee is non-refundable
Submit the form on your own or through an Indian Representative / Line Producer
created to cater to these requests. Now, the Directorate General of Civil Aviation (DGCA) provides permission for aerial shootings in the country. For Tenet, the permission to use a helicopter was very smooth and quick. Efforts have also been on to bring on board other institutions like ASI, DGCA, and Railways to further reduce the time required for permissions. “As someone who has faced a lot of trouble in getting permissions in the past, now, it feels like a red carpet has been rolled out for foreign projects in India. I have four other international projects in the pipeline to shoot in India, but I can’t disclose their names,” says Dileep Singh Rathore, reflecting a change in outlook of foreign filmmakers when it comes to shooting in India. The institution of the ‘Most Film Friendly State’ Award, which was won by the State of Gujarat in 2015, the State of Uttar Pradesh in 2016 and the State of Madhya Pradesh in 2017, is a unique initiative started to promote filming in India. For furthering the growth of the film industry in the State, Uttarakhand bagged the honour for ‘Best Film
29 35
Friendly State in 2018. To encourage more filmmakers to shoot films in the state, the Uttarakhand government has provided various subsidies. Most states in India have also formulated their filming policies, which offer certain incentives to foreign filmmakers. FFO can help connect with the right officials in the state administration to take a filming proposal forward. FFO acts as a facilitation point for the foreign producers and production companies along with their Indian Producer/Line Producer in assisting them to get requisite permissions, disseminate information on shooting locations and the facilities available with the Indian film Industry for production/post production and works closely with State Governments in assisting them to set up similar facilities. Foreign filmmakers desirous of shooting their Feature Films, Reality TV shows and commercial TV series in India, can apply online at the FFO website. And, the rest will be taken care of in a professional and friendly manner.
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TAppINg INDIA’S ANIMATION &
VFX Potential By Dr S. Raghunath
As Indian history, mythology, and folklore resonate strongly with the Indian consumers, It requires scriptwriters, visualizers and techsavvy animators who can translate these stories from live-action to animated content, writes Dr S. Raghunath, Professor of Strategy, IIM Bangalore
A
s India inches closer to adopting the 5G technology, the consumption of entertainment content will increase manifold, presenting a neverbefore opportunity for broadcasters and OTT platform providers to grow their business. Therefore it is not surprising to witness the trend of increasing investments in original IP content. Indians are reportedly watching at an average of eight hours and 33 minutes of content a week that is higher than the global average of six hours and 48 minutes of content per week, where animation-based content has a significant share in the online content consumption. The potential opportunity to expand animation and VFX business is immense while in reality, it requires commensurate talent to realize that potential. We are aware that Indian history, mythology, and folklore resonate
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pickle entertainment biz guide
strongly with the Indian consumers, as most Indians are aware of their local heroes and their stories. It requires scriptwriters, visualizers and tech-savvy animators who can translate these stories from live-action to animated content. India is replete with folklore and characters that have a strong appeal in vernacular languages. Our creative artists and writers can dip into the most valuable assets of folklore and mythology and draw upon a rich library of characters, and more specifically refresh and rejuvenate the connection that these characters have established with end consumers in rural and mofussil areas. The library of characters and storylines can contribute to a highly synergetic business model, in which animation and VFX can play a critical role, and Management graduates can address key marketing challenges in the creative industry. Creative media, art, and design education requires a thrust and the LIKE PICKLE IN FACEBOOK
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India is replete with folklore and characters that have a strong appeal in vernacular languages
focus that brings exposure to world class technology to aspiring young minds in the country. Students need face-to-face tutorial sessions with their teachers who have updated their knowledge on the current practices and technology in the industry in a studio-based learning environment. To prepare for their future careers, students need to hone not only their technical skillsets but also soft skills such as networking and bringing exposure to their work through social network sites, festivals or exhibitions. They need mentoring from industry professionals, starting with workshops and guidance conducted by such professionals. Students can gain exposure to specific knowledge, skillsets, and inspiration for industry standards through these interactions. Participating in Master Classes, or in workshops with famous artists and animators from the industry can help students to develop the mindset of entrepreneurship for their future career growth. Students require support on their action learning projects through remote access to computer resources. Remote access provides students with the flexibility to determine when to work on their action learning projects.
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pickle entertainment biz guide
Educators must consider giving students more independence when they are given more responsibilities for their learning in project-based contexts. More independence and self-paced application may encourage students to do well in their projects. Student autonomy may have a positive impact on shouldering responsibility, creative freedom, and performance. The Government of India has identified animation, under the audio-visual category, as one of the 12 champion sectors. As part of the champion sector categorization, the government has allocated a dedicated fund of Rs. 50 billion for the development of 12 sectors. Contribution and development of such ‘Centres of Focused Learning on Animation and VFX’ can immensely benefit the industry. It is common knowledge that margins in animation business are not high and are known to be based on the volume of business. Countries like Canada, France, Spain, Ireland offer tax incentives to their companies in order to remain competitive. Perhaps we must consider supporting this fledgling industry until it attains maturity.
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BITTER CHESTNUT
www.pickle.co.in OCTOBER 2019
Biren Ghose
Country Head Technicolor India
INDIA FOCUSED MIPCOM ISSUE
A FILM BY
GURVINDER SINGH
Muddled with his own desires and his family’s desires for him, Kishan, a lad of 17, has
to make a choice: whether to live a predictable life around his remote Himalayan village
or migrate to the city. Working in a cafe in a nearby town, he has disturbed sleep and bad dreams at nights. And at times has visions while awake—flashes of fleeting but strong
images. Khanaur is the vernacular word for a Himalayan variety of bitter chestnut, which the villagers believe is made edible by washing regularly for seven straight days. The film looks at the aspirations, fears and insecurities of living in the present times, through
the eyes of a young Kishan, as he yearns for the bitterness to eventually fade away from the fruit. It is about the inner beauty and charm of people who live in harmony with
nature—till now free of the constant pressure of conformity, of embracing consumerism and fruits of globalization. True, Kishan will want to leave one day, wanting to indulge in these temptations.
Khanaur (Bitter Chestnut) is the third feature from Indian director Gurvinder Singh,
whose earlier two films, Alms for the Blind Horse and Fourth Direction, have premiered
at Venice and Cannes film festivals respectively and won numerous international awards.
PRODUCER BOBBY BEDI
Architect of
AMAZEMENT FOR A DECADE NOW, BIREN GHOSE HAS BEEN THE FACE OF TECHNICOLOR INDIA. HERE’S HOW THE GLOBAL M&E SERVICES GIANT HAS TRANSFORMED INDIA INTO ONE OF ITS MOST PROLIFIC GLOBAL HUBS FOR THE ANIMATION, VFX, GAMING INDUSTRY
DURATION 100 MINS LANGUAGE PAHARI, HINDI & ENGLISH
WORLD PREMIERE BUSAN INTERNATIONAL FILM FESTIVAL, 2019 NOMINATED FOR KIM JISEOK AWARD
TAGS COMING OF AGE / TRADITION / MODERNITY / MIGRATION
CONTENT FLOW FILMS & WEB SERIES PVT LTD bobby@contentflow.in
www.pickle.co.in DECEMBER 2019
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Special Issue
Amit Khanna poet, lyricist, writer, filmmaker and historian
Excerpts from the book published by Harper Collins India
THE MEDIA FOR FIVE DECADES, AMIT KHANNA HAS BEEN THE TORCHBEARER AND VISIONARY OF INDIAN MEDIA AND ENTERTAINMENT INDUSTRY. HIS NEW BOOK — ‘WORDS, SOUNDS, IMAGES’ — TRACES THE HISTORY OF M&E IN INDIA FROM THE INDUS VALLEY CIVILIZATION TILL MODERN TIMES. WE DELVE DEEP INTO HIS UNIQUE MIND...
IFFI SHINES IFFI’S GoldEN JubIlEE EdItIoN at Goa waS Full oF ENErGy aNd HopE, aNd wIll bE EtcHEd IN our mEmory For a loNG tImE. From HoNourING tHE FIlm INduStry lEGENdS raJINIkaNtH aNd amItabH bacHcHaN to dIGItal INtEractIvE ExHIbItIoN, maStErclaSSES aNd FIlm bazaar, It waS a NINE-day cINEmatIc FEaSt For FIlm lovErS aNd INduStry dElEGatES From acroSS tHE world
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INDIA AT CANNES FILM MARKET
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Hearty Congratulations to Berlinale on its 70th Edition
Meet us at India Pavilion 110, Village International Riviera, Palais Des Festivals
Ministry of Information and Broadcasting Government of India
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EFM Constantly adapts to ChangE to
Stay RElEvant Interview with Matthijs Wouter Knol
The European Film Market’s development over many years depends on how quickly it adapts to what’s happening within the industry; to the trends and changes that are influencing the players of this very complex market landscape, says Matthijs Wouter Knol, EFM Director, as he speaks on new initiatives, future developments and trends in the global film, media and entertainment industry, in an interview with Pickle
European Film Market heralds the entertainment industry and gives a perspective of where the film industry is heading? How has the market shaped this year? The European Film Market is the first market at the beginning of the year and as such it has been acting as a barometer for the upcoming film year. Our participants come here because the EFM is one of the largest markets for audiovisual
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content worldwide and one of the most important trading platforms kicking-off the year. With our many communication, information and networking events and initiatives we offer the EFM visitors the upcoming trends and developments that are going to shape the year. 2020 is the beginning of the new decade. How do you see the relevance of markets impacted in the digital age and longer term? The European Film Market has evolved enormously since its creation in 1988. To maintain its position as a leading market and trading platform in the industry, the EFM has to adapt to what’s happening within the industry; to the trends and changes that are influencing the players of this very complex market landscape. There are technological and financial developments as well as developments regarding content and new players at the market. The EFM picked up on these trends and offers suitable platforms and initiatives such as the Berlinale Series Market & Conference dedicated to all aspects of serial content; EFM Horizon to meet the growing information demand regarding the fast technologically development; the Berlinale Africa Hub, a platform for innovative projects and ideas
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Matthijs Wouter Knol, EFM Director
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thE EuropEan FilM MarkEt is thE First MarkEt at thE bEginning oF thE yEar and as suCh it has bEEn aCting as a baroMEtEr For thE upCoMing FilM yEar. our partiCipants CoME hErE bECausE thE EFM is onE oF thE largEst MarkEts For audiovisual ContEnt worldwidE and onE oF thE Most iMportant trading platForMs kiCking-oFF thE yEar
from the African film industry. EFM DocSalon, EFM Producers Hub, EFM Industry Debates are other initiatives that are also meeting the industry’s ongoing changes. And equally important: diversity, inclusion and sustainability have marked the EFM’s development over the last year, gaining more and more importance due to what’s happening not only in the film industry, but on a larger, social and political scale. What are some of the new additions and trends that you see in the industry? We have introduced a new initiative called EFM Landmark, a program aimed specifically at film commissions and producers, offering them an additional business platform. For the first time we as EFM issued a sustainability manifesto because we want to take responsibility for the environment and fight unnecessary creation of waste, be careful in the usage of energy and resources, develop strategies to reduce, reuse and recycle resources. The manifesto includes also the creation of a healthy and sustainable working climate as well as raising awareness among team and visitors that they are part of a greener EFM. The measures are part of the initiatives already taken in previous years by the Berlinale. The DocSalon also offers new developments such as the “Archive Day”, the DocSalon Toolbox Program specifically intended for international delegations of documentary creatives from underrepresented groups, as well as the partnership
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with the DAE, the Documentary Association of Europe. EFM Landmark is a new addition with coming together of film commissioners. What has been the response? It is a great initiative as EFM is always a buzz with film commissions from Europe? We have received a very positive feedback to EFM Landmark. Especially because “EFM Landmark” will give plenty of options to present new trends, the cash rebates and tax incentives du jour, as well as changes in co-production funding opportunities and showcases of the best locations for film and drama series to producers looking for the right fit. EFM is a convergence of a wholesome market that has solutions for needs of every aspect of filmmaking (from a business angle), including technology/ AR/VR at EFM Horizon. What’s the overall theme that you see emerging this year? What are people looking for in changing times of streaming getting an upper hand? Our format EFM Horizon picks up on the future developments and trends of the film, media and entertainment industry. The striking subject is that there is not only one striking subject: Sustainability, well-being, diversity, storytelling, artificial intelligence and immersive media - they all are in the focus of
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this year’s EFM Horizon edition. We will dive deeper into those forwardlooking developments of social, technological, economic and creative nature and with the EFM Industry Debates, EFM Startups, EFM VR NOW Summit and other formats we provide an outlook into the future of the film and entertainment industry. The paradigm shift to streaming platforms becoming key decision makers will be very present in seminars, conferences and events at this year’s EFM. EFM organizes the finest coproduction market? How much is the success rate of films getting into execution mode? The Berlinale Co-Production Market is a separate part of the industry platforms at the Berlinale and closely associated with the EFM. It has been a very successful format from the very beginning. This is mainly due to the curated nature of this event. The film makers and their projects are carefully chosen and they are provided with many pitching and networking and oneon-one opportunities where they have the unique possibilitiy to find exactly those partners they need for financing, co-producing, developing etc. India participation has been on the rise over the last few years. This year also a small delegation will be at EFM. How do you see collaboration and scope for India to expand its activities in the market?
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CoRonAVIRus HITs CHInEsE PREsEnCE AT BERLInALE • A Chinese delegation of companies that was planning to attend EFM in a Chinese umbrella stand had to cancel their visit due the current health emergency imposed by a Corona virus outbreak in the country that has made it difficult for them to obtain visa. Attendance of Chinese professionals, including buyers, is also expected to be low in comparison to the increasing number of Chinese buyers finding their ways to EFM in the previous three years. • As many as 59 cancellations from mainland China and Hong Kong have been registered to date. From other countries, at least five people have cancelled their visit and given the Coronavirus as a reason to cancel.
This year, we have 27 companies from India with 38 participants coming to the EFM. There will be five Indian films being shown in market screenings. The collaboration with the Indian film industry goes back quite some time and has intensified over the past years, with the Indian pavilion in the centre of the historic Gropius-Bau. EFM is keen on further expanding collaboration with different parts of the Indian film industry. Considering the size, influence and impact the Indian film industry has worldwide, including for example on the African continent, I see opportunities for new projects together.
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Changing Bollyw d
Taapsee Pannu starring Thappad deals with a woman’s right to fight off domestic violence in a conservative society
StarS of a Parallel Sky Mainstream Bollywood is on the cusp of change with the rise of a parallel cinematic universe that uses the means and resources of the industry while making films that are akin to the social chronicles and cautionary tales that emerge from a more independent space
By Saibal Chatterjee
Ayushmann Khurrana has achieved stardom on the back of a series of roles that border on the revolutionary in the context of popular Hindi cinema
A
Changing Bollyw d
parallel universe has taken a concrete shape in mainstream Bollywood. It is defined by the work of directors and actors who work within the mass-oriented Hindi cinema but, in their films, address issues and themes of contemporary relevance in a manner that generates serious conversation and attracts ample media and audience attention. Exactly one such Bollywood release is scheduled for February 28. Thappad, directed by Anubhav Sinha (Mulk, Article 15) and starring Taapsee Pannu, deals with a woman’s right to fight off domestic violence in a conservative society. Sinha and Pannu, who played an important role in the former’s Mulk, a film revolving around the impact of Islamophobia on unquestioning minds, have both carved a niche for themselves by delivering stories that confront prickly subjects in a manner that facilitates engagement with wider audiences. The duo represents a segment of Bollywood that uses the means and resources of the industry but makes films that are akin to the social chronicles and cautionary tales that emerge from a more independent space. Their upcoming collaboration, Thappad, is about a woman who walks out on her marriage when her husband slaps her. Sinha is a Mumbai film director who devoted more than a decade and a half to making romantic dramas (Tum Bin and its sequel), thrillers (Dus, Thathastu and Cash) and a superhero film starring Shahrukh Khan (Ra. One). In 2018, he reinvented himself with Mulk, about a Muslim family in an Uttar Pradesh town struggling to
In Shubh Mangal Saavdhan, Khurrana dons the garb a small-town middle-class boy who causes a stir by coming out as gay and bringing his partner home
clear its name when one of its younger members is drawn into a terror plot. In 2019, Sinha made the hard-hitting Article 15, which told the story of a young police officer who is posted in a town where caste discrimination is rampant. Three girls go missing and the protagonist is sucked into a world where the weak and oppressed are also completely defenceless as a result of deeply ingrained social prejudices of those that wield political and administrative power. The role of the cop in Article 15 is played by Ayushmann Khurrana, who has achieved stardom on the back of a series of roles that border on the revolutionary in the context of popular Hindi cinema. The actor made his film debut in 2012 with Vicky Donor, directed by Shoojit Sircar. Khurrana played a sperm donor, a character unheard of in Hindi cinema. After a few misfires, the actor began a phase that has seen him, among
the direCtorS and aCtorS have lent mumBai Cinema an edge it never had Before By eraSing the line Between CommerCial SuCCeSS and artiStiC Courage In Bala, Ayushman Khuranna plays a young man, suffering from premature balding
Anubhav Sinha
other things, play the husband of an overweight woman in Dum LagaKeHaisha, a man with erectile dysfunction in Shubh Mangal Saavdhan, a youngster grappling with a bald pate, and a blind pianist who ‘witnesses’ a murder in Andhadhun. In Shubh Mangal ZyaadaSaavdhan, the follow-up to Shubh Mangal Saavdhan, Khurrana dons the garb a small-town middle-class boy who causes a stir by coming out as gay and bringing his partner home. So, there we are: a whole new world is opening up in the pan-Indian Hindi cinema on account of actors and directors who are willing to take risks. Shoojit Sircar, who directed Khurrana in Vicky Donor, also gave TaapseePannu a role that changed the course of her career. The film was the intense legal drama Pink, featuring Amitabh Bachchan as an ageing, cynical lawyer who comes out of retirement to represent three young women subjected to sexual violence after a rock concert. It was produced by Sircar. A Bollywood director who has made a career out of dark thrillers, Sriram Raghavan has never lowered his guard in the matter of keeping his output free from dog-eared devices. He helmed one of 2018’s most acclaimed Bollywood thrillers, Andhadhun, which arrived virtually unheralded and went on to acquire a cult following. A decade ago, Raghavan delivered Johnny Gaddar, a stylized crime thriller that remains a benchmark for the genre. In 2015, he made the subversive thriller Badlapur, about a man who lies in wait for years for a criminal who killed his wife and child in a random act of violence.
Shoojit Sirkar
Sriram raghavan helmed one of 2018’S moSt aCClaimed Bollywood thrillerS, andhadhun, whiCh arrived virtually unheralded and went on to aCquire a Cult following
Also working in mainstream Bollywood but with a distinct slant towards the real and tangible is AshwinyIyer Tiwari. She has directed three Hindi films to date – Nil BatteySannata, Bareilly Ki Barfi and Panga. Each one of them has struck a chord without having to resort to potboiler conventions. Bareilly Ki Barfi, a romantic drama set in a specific small-town milieu, saw Ayushmann Khurrana lock horns with an actor who has a niche all his own – Rajkummar Rao. Rao, a regular Hansal Mehta collaborator, has built up an impressive body of work since debuting ten years ago with Dibakar Banerjee’s Love Sex AurDhokha. With Mehta, Rao has delivered two of his finest performances – in Shahid, which fetched him a National Award, and Aligarh, a film in which he held his own against a superlative Manoj Bajpayee. Together, these directors and actors have created a space where Bollywood explores themes and ideas that are far removed from easy certitudes that the industry usually peddles. They have lent Mumbai cinema an edge it never had before by erasing the line between commercial success and artistic courage.
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filmS to watCh in
ganguBai kathiawadi (hindi) director: Sanjay leela Bhansali
The latest film from the maker of Bollywood blockbusters marks a a significant change of pace. GangubaiKathiawadi stars Alia Bhatt as a woman who lives life on her own terms. The role spans several decades – the protagonist goes from being the 17-year-old Ganga, a girl from Kathiawad, Gujarat, to become the matriarch of Mumbai’s red-light district and a key figure in the city’s underworld.
illiralare allige hogalare (kannada)
(Confined hither… Can’t go thither) director: girish kasaravalli Girish Kasaravalli’s first feature since Koormavatara (2011) is an adaptation of a short story by Kannada writer Jayant Kaikini. The story, written in the early 1990s, revolves around an 11-year-old village boy who is employed by a family in Mumbai to look after their child. The celebrated auteur’s 15th feature probes the rural-urban divide, the dynamics of class and the dilemmas of childhood.
Winds of Change as established stars of hindi cinema brace for change, the Bollywood is currently being driven by contradictory impulses where old and new narratives are able to exist side by side
T
he ageing Bollywood superstars are nearing their sell-by dates. Their fan followings are intact, but are struggling to convince audiences that they are still young enough to play action heroes and romantic leads. With the goalposts having moved significantly, the likes of Shah Rukh Khan and Aamir Khan are exploring fresh creative pastures. Aamir Khan is the lead of Laal Singh Chaddha, an official remake of Forrest Gump (1994) directed by Advait Chandan. Shah Rukh Khan, on his part, hasn’t signed a film since 2018’s Zero. And Salman Khan, despite the below-par showing of several of his recent releases (notably Tubelight, Race 3 and Bharat) is sticking to his guns. He seems to be continuing down the Dabangg path – the third installment of the franchise hit the screens in 2019 – with Radhe: Your Most Wanted Bhai, di-
rected by Prabhudeva. Dabangg 3 was incidentally also helmed by Prabhudeva. It is reported that Shahrukh has given the go-ahead to a script penned by Raj Nidimoru and Krishna DK (writers of Amar Kaushik’s Stree and makers of Shor in the City and Go Goa Gone). So, has SRK seen the writing on the wall? But even as winds of change sweep over the Mumbai industry, Akshay Kumar (Good Newzz), Ajay Devgn (Tanhaji: The Unsung Warrior) and Hrithik Roshan (War) have delivered massive hits this past year. Bollywood is, therefore, being driven by contradictory impulses. On one hand, films like Meghna Gulzar’s Chhapaak and Ashwiny Iyer Tiwari’s Panga earn critical accolades that do not necessarily translate into box office returns. On the other is the next Tiger Shroff vehicle, Baaghi 3, a high-octane actioner that will probably rake in big bucks.
Changing Bollyw d
laal Singh Chaddha (hindi) director: advait Chandan
Aamir Khan plays the titular role in Laal Singh Chaddha, an official remake of the Tom Hanks hit of a quarter century ago, Forrest Gump. The original screenplay has been reworked for Indian audiences by stage and film actor Atul Kulkarni. The film is helmed by Advait Chandan, who made his debut with Secret Superstar, produced by Aamir. Laal Singh Chaddha, which has Kareena Kapoor and Tamil star Vijay Sethupathi in key roles, follows important events in India’s contemporary history from the standpoint of the simple-minded protagonist.
aquarium (Bengali) director: aditya vikram Sengupta
ChuZhali (malayalam)
director: lijo Jose Pellissery Even as his Jallikattu premiered in the Toronto International Film Festival in September, Lijo Jose Pellissery, one of Kerala’s most exciting contemporary filmmakers, was shooting his next. The cast of the new film, titled Chuzhali, includes Joju George, Chemban Vinod Jose, Vinay Forrt and DileeshPothan. By the time the crime thriller is ready to travel, the prolific director will probably be in the midst of Disco, to be filmed in Las Vegas.
Aditya Vikram Sengupta’s third feature film is an Indo-French-Norwegian co-production shot by Nuri Bilge Ceylan’s cinematographer GokhanTiryaki. The director of Labour of Love and Jonaki has cast Bengali actors Sujan Mukhopadhyay, Sreelekha Mitra and BratyaBasu in the new film. Aquarium hinges on between a temperamentally mismatched married couple whose relationship unravels against the backdrop of a major financial scam that s h o o k Bengal recently.
Chhalaang (hindi) director: hansal mehta
Director Hansal Mehta and actor Rajkummar Rao team up for the fifth time for this social drama about a physical training (PT) teacher in a small school in Haryana who learns the hard way to take his job seriously. Chhalaang, co-produced by Bollywood star Ajay Devgn, is in a markedly lighter zone than the intense films that the director-actor duo has delivered so far – Shahid, City Lights, Aligarh and Omerta.
kayattam (malayalam) director: Sanal kumar Sasidharan
The first production venture of actress Manju Warrier, Kayattam, Sanal Kumar Sasidharan’s sixth feature,has been wrapped up after an eventful shoot in the upper reaches of Himachal Pradesh. The crew of the film, including the director and the actress-producer, were stranded for several days in a remote location due to heavy rain and snowfall. A special rescue operation had to be mounted to get them out of there.Sasidharan’s previous film, Chola, was in the Orrizonti competition in Venice last year.
angreZi medium (hindi) director: homi adajania
A follow-up to the 2017 social comedy Hindi Medium, Angrezi Medium, directed by Homi Adajania (Being Cyrus, Finding Fanny), features Irrfan Khan in the lead role. The cast of the film includes Kareena Kapoor Khan, Radhika Madan (Mard Ko Dard Nahi Hota) and Dimple Kapadia. Scheduled for release in the third week of March, Angrezi Medium is one of the year’s most anticipated films because it is Irrfan’s first outing after his hospitalization.
wE bEgin our yEar with
BERlinalE With localization business seeing an exponential growth owing to the rise of OTT platforms, VR Films and Studios Limited sees a huge potential in the European market to cater fresh content to the Indian and SAARC markets that can be dubbed in local languages, say Manish Dutt and Krishi Dutt, Directors, VR Films and Studios Limited What is your objective at Berlinale 2020 and European Film Market? At Berlinale, we will catch up on European cinema and will look forward to the acquisition of contentdriven features for India. We are in talks with some European players for collaboration on film production and at this Berlinale will meet them to take it forward. We also look forward to connecting with people for our localization business, and in this way, we bring the world closer back home. Berlinale is celebrating 70 years this year and you have been a regular at Berlin for over a decade now. How has Berlinale influenced or impacted you? Berlinale for us has always been very important and is always the first festival and market with which we begin our year. We have been regularly coming here for the last 10 years. Berlinale provides a fabulous
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platform to European Cinema where one gets to see the very best from Baltic, Scandinavia, East Europe, Central Europe, West Europe, the UK, and many more countries. It is always a pleasure to come here and meet our film fraternity friends from the world over. Also, it’s such a delight to see India being prominently represented for the last two years, creating business opportunities with the best international film houses. Film ‘Parasite’ has won the Best Picture at oscars? How do you see this change? You have been working very closely with south Korea’s CJ Entertainment? CJ Entertainment has been a good friend of ours. We have acquired many Korean titles from them for the Indian Sub-Continent. ‘Yoonhee’, ‘Eunji’, and ‘Namyoung’ need a special mention as they have been very kind, accommodating and have always worked hard to get Korean Cinema to our part of the world. ‘Parasite’ is a fantastic film with a beautiful screenplay, very good direction and performances. There is not a single moment in the film which forces you to drift away. It keeps you spellbound irrespective of the fact that you may not understand the language; it transcends all such boundaries. No wonder the film swept all the major awards including the Palme D’or, Golden Globe and now Oscars. In the last Cannes Film Festival, CJ Entertainment was very keen on us acquiring ‘Parasite’ for the Indian Sub-Continent. But since our plate was already full, we let it pass. I guess one loses some and wins some, but nevertheless we are very happy for all of them and more happy to see them all make lots of
this January, wE bECaME a MEMbEr oF nEtFlix’s np3 (post partnEr prograM), whiCh is a hugE aChiEvEMEnt as it givEs us thE opportunity to dub thEir ContEnt in indian languagEs...
Manish Dutt and Krishi Dutt VR Films and Studios Limited
money. Content is surely the king at the box-office. All along, VR Films has been working to bring European cinema to India. With localization in full swing because of streaming is there any action now on this front? Yes indeed. We have been working in this space for the last four years-meeting production houses and agents from all over Europe with the hope that one day the doors for such brilliant cinema would open in India. Thanks to the surge in OTT platforms that such cinema is now having viewers in India. The younger generation is keen on watching such Cinema and this brings lots of opportunities for our other business -- localization -- as Indians like to hear and watch movies rather than read (subtitles) and watch them. We have more than 65 dubbing studios across India, and we are working
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around the clock dubbing foreign content for OTT and TV in Hindi and other Indian regional languages like Tamil, Telugu, Kannada, Malayalam, Marathi, Urdu, neutral English, among others. Currently, we clock around 400 hours of dubbing per month and the demand is still growing. Hollywood films too are getting localized in Hindi, Tamil, and Telugu and we continue to do a lot of work for major Hollywood film studios. Which projects are you working on? What are your goals for 2020? We started 2020 with the Theatrical Release of “The Courier” starring Gary Oldman and Olga Kurylenko. We look forward to Russell Crowestarrer ‘Unhinged’ that we have acquired to distribute in the Indian Sub-Continent. It will have a wide theatrical release in Q3 this year in Hindi, Tamil, Telugu, and English. ‘Jolt’ is another exciting title starring Kate Beckinsale which will release in Q3/Q4 this year. We also have a horror title from the UK, ‘The Power’, that is slated for release in 2020... So it’s packed 2020 for us. Apart from these three films, we have many other titles that are in production and will have 2021 release. For our localization business, we are setting up more studios as this business is growing with every passing day. We intend to get into the production of content too for which we are in talks with many players. We started our relationship with Amazon Prime Video and put some of our Titles on their platform and they are performing well.
Chandrakant singh is looking For a CoproduCiton partnEr
at BERlinalE Interview with Chandrakant singh
Film Producer Chandrakant Singh is at European Film Market to do co-production deals for international films. He shares his views ranging from changing cinema business in India to how films with local stories and heavy on content are taking on the gradually fading stardom in Bollywood Rajasthan-born Director and Producer Chandrakant Singh is at Berlinale and European Film Market 2020 to do co-production deals for international films. His Indo-US coproduction feature film ‘Lost in Goa’, which is being made in collaboration with US-based producer Peter Ziebert, is set to be entirely shot in India with Indian and international actors. The soft-spoken DirectorProducer of web-series Fashion Street and commercial Bollywood film ‘Kya Masti Kya Dhoom’, sees Berlinale as an apt platform where he can meet experts and collaborators to learn and create a bigger market. What are your main objectives of visiting the Berlinale and European Film Market 2020? The basic objective is to look for co-production deals wherein we combine the creative energies to make international films. Berlinale has been at the forefront of progressive cinema and it gives us immense exposure to bid in the European market.
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What do you look forward to in the year 2020? Also, what’s your long-term vision of this decade? This decade will witness several changes in cinema business. The shift from cinema screens to digital consumption is something which will rule the coming decade. The streaming giants will see more glorious days as there is enough optimism on cross cultural stories. What are the current projects you are working on? Tell us about the Co-Production partners you are looking for the new project? I am currently working on an IndoUS coproduction English feature film ‘Lost in Goa’, which will be entirely shot in India with Indian and international actors. This project is in collaboration with US-based producer Peter Ziebert. At present, I am looking for more deals, wherein we work on international subjects and create a bigger market. You have been visiting many markets across the world in recent times? But it will be your first time at Berlinale and European Film Market. What is the most important thing you want to achieve at EFM? I have been doing rounds of several international film festivals, which helped me produce and direct films like ‘SIX X’. I am always open to learn. Learning is the essence of a good filmmaker. Having developed enough sense of international collaborations, I want to now channelize my energy in developing my international ventures and Berlinale can provide me a good platform to sign some good co-production deals to take my projects forward.
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‘Parasite’ winning at Oscars is One Of the best news fOr cinema in recent times. it OPened the dOOrs fOr filmmakers like us tO tell stOries which are rOOted and have cultural echOes.
Film ‘Parasite’ has won the Best Picture at Oscars? How do you see this change? ‘Parasite’ winning at Oscars is one of the best news for cinema in recent times. It is the first movie in a language other than English to take home the Oscar for Best picture in the award show’s 92-year-old history. Thus, it has opened the doors for filmmakers like us to tell stories which are rooted and have cultural echoes. What are your thoughts on OTT and streaming? How do you see it impacting India? The impact of streaming is going to be huge in India, given the rise in access to internet and smart phones in the country. I think this is a welcome change as it opens new doors for creativity. I believe that the bigger the
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platform is, the better the scope for creative people like me. What are the major trends driving the Indian film industry today? The mass market seems to be dying and big heroes like Shah Rukh Khan are not anymore successful. Only content-driven cinema has been working for the last two years or so? Yes, I agree that the stardom in Indian cinema is gradually fading. Films with local stories and heavy on content are working nowadays in India, which is an excellent thing. With a new breed of producers coming up, more innovative ideas and courageous stories can be seen. It’s a great time to be in Indian film industry. We are enjoying this paradigm shift.
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berlinale best PlatfOrm tO PrOmOte
Shakeela Interview with Saravana Prasad
At Berlinale 2020 to get the global industry take notice of his latest film ‘Shakeela’, Sarvana Prasad, Producer, Innovative Film Academy believes that European Film Market is the finest platforms to meet, interact and do business with film fraternity What is your objective at Berlinale 2020 and European Film Market? The Berlin film festival provides a wonderful platform to filmmakers, studio owners, artists and cinema critics to meet, interact and do business. As a film producer, I am here to promote my upcoming film ‘Shakeela’ in the overseas market for cross border distribution. Also, I want the global industry to notice the film for its artistic character and narrative. As a studio owner, I am looking forward to get a networking opportunity with the global film fraternity present at the festival and also an opportunity to collaborate with potential partners.
South India’s first major porn star. The movie was made in Hindi and dubbed in four other languages – Tamil, Telugu, Kannada and Malayalam. It is scheduled for release in June 2020. The story depicts her early life in Kerala, where she began her dominant run of films that set the industry ablaze with her market presence and loyal fan base. Set in the 1990’s—ironically a conservative time in Kerala— Shakeela’s films, particularly in Malayalam, were so popular at the time that every week she had a new release, thus giving a tough competition to the top stars of the industry.
Tell us about your biopic film ‘Shakeela’? How is it different from Mithin Luthra’s ‘The Dirty Picture’?
This film, produced by Innovative Film Academy and directed by popular Kannada film Director Indrajit Lankesh, portrays the hardships of the actor as she had to face lots of criticism, insults and betrayals from her own family members and the film fraternity who succeeded in getting her films banned.
‘Shakeela’ is a women-centric biopic based on the life of Shakeela John,
Having appeared in 250 adult films, a so-called ‘family-friendly’ project was
Above all, I would like to catch up with the latest and best in the world cinema to appreciate the creativity and the crew behind it.
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next for Shakeela. She had a story, her life and that was what she wanted to capture. Unfortunately, the industry that profited so heavily from her turned their backs. To them she was a porn star not an actress. The narrative seems to be changing in Indian cinema? Do you also see some visible changes? Indian cinema has been globally known for its elaborate song and dance numbers; beautiful but often unrealistic backdrops with an exaggerated hero character. It is because of dramatic narratives and almost fantasy like love stories and plot lines, Indian cinema has often come under attack. But with the changing political landscape and the mindset of new generations we are witnessing a transition towards more realistic plot lines where the audience can relate closely to the screen characters. These are set in heavy socioeconomic backdrops and focus heavily on political issues (example Article 15, Tamil film Tolet, etc). ‘Shakeela’ itself is a great example of films that highlight the plights of a non-traditional Indian woman, which goes against the traditional patriarchal narratives that we are so used to seeing in Indian films. Another change we see is in the form of pushback from new content makers against the backward Indian censorship laws. Platforms like Netflix offer a safe way to content creation without movies like ‘Shakeela’ facing a backlash for showing real content. Which projects are you currently working on? What are your goals in year 2020? Currently, I am looking forward to the release of our latest film ‘Shakeela’. We are also working on new scripts to start a fresh film production project, which will be announced in June this year. The film will have a global approach and will be released in multiple Indian and international languages. We are also looking to expand our studio facilities in Bangalore to collaborate with international studios and bring in the latest technologies for production and post-production works. Apart from this, we have our upcoming Innovative International Film Festival
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2020 where close to 20 countries are expected to participate. We also have Innovative Film Academy, where we are constantly evolving new and contemporary teaching techniques. We organise Master Classes, workshops and longterm courses for students covering various aspects of filmmaking. Tell us about the Innovative International Film Festival (IIFF) slated for May 2020 in Bangalore? What’s the focus this year? IIFF 2020 aims at creating a meaningful networking platform by facilitating the congregation of Indian and international filmmakers with a special focus on South Indian film industry – Tamil, Telugu, Kannada and Malayalam. With the eminent film fraternity in attendance, the event promises to reward every participant with a rich learning experience through a series of activities curated for the festival which aims to recognize and exhibit artistic and meaningful cinema.
InnOvaTIvE InTERnaTIOnaL FILM FESTIvaL’S USPs • International Countries’ Tie-up – Special emphasis is given to promote the cinemas, shooting locations, filming policies & cultures of 15+ Countries, which are expected to participate in the festival this year. This offers Indian filmmakers opportunities for foreign collaborations, content exchange and co-production. • 100+ Indian & International Film Screenings - The festival tends to bring to its audience tastefully curated – feature films, documentaries and short films – in Indian and foreign languages. • Association with Indian Film bodies – to ensure the attendance of filmmakers and the industry from all States of India. • Participation of Indian State Governments- to create awareness of the services offered by State film facilitation Offices, State policies, incentives & shooting locations for film production teams. • Master classes & Talk shows – Industry legends & Contemporary Filmmakers hold the dais to mesmerize the delegates with their talks, advises & experiences.
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berlinale
talents emerging filmmakers set tO steal the shOw As many as 255 emerging filmmakers from 86 countries are set to showcase the best of their work at Berlinale Talents being project managed by Christine Tröstrum,
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galaxy of 255 emerging filmmakers from 86 countries will be showcasing the best of their work, at the Berlinale Talents, from February 22 to 27, as part of the upcoming film extravaganza, the Berlin Film Festival 2020. The event, continues to offer a unique platform for international networking, talent and project development. “255 of the world’s most outstanding emerging film professionals meet on an equal footing with seasoned filmmakers, industry experts and artists to carve out new spaces of creativity and to forge new bonds,” shares Christine Tröstrum, Project Manager, Berlinale Talents. This year’s group includes internationally emerging Talents such as Sherwan Haji, the Syrian-Finnish lead actor in Aki Kaurismäki’s The Other Side of Hope, amongst others, and over 40 creatives that were part of past Berlinale editions, including many with award-winning films like Ixcanul, God Exists, Her Name Is Petrunya and System Crasher. Now in its 18th edition, Berlinale Talents stands once again for sustainable promotion and exchange amongst different disciplines across the worlds of film, series, theatre, art and industry.
“Berlinale Talents stands for a sustainable future and turns to its Talents for inspiration. Each and every one of you is more committed to changing the world than ever, be it in your attempts to rethink what you create, how and where you do so, or how people may benefit from it,” opines Christine. This years Berlinale Talents has renewed its partnership with ARRI for another three years, Expressing joy over the development, Christine shared, “This is why Berlinale Talents is delighted to renew its fruitful co-partnership with ARRI for another three years. The world market leader in film technology supports Berlinale Talents with innovative light and camera systems as well as top industry experts for the Camera Studio, and is increasingly committed to boosting the network even beyond the festival.” “The long-standing support of our partners has been the key to our many years of success. So it is only natural that our gratitude should go to those who have contributed to this 2020 edition,” the lady adds. In addition to the extensive summit programme of talks and panels with top-notch experts, Berlinale Talents offers a range of Talents Labs in which you can further develop and present your own project.
sasindran seeks cOllabOratiOn On
BoSnia-BaSed film Interview with varun Sasindran
Working on a short documentary called ‘Hajra’, which attempts to probe the life of a woman fleeing the atrocities committed during Bosnian civil war, Director Varun Sasindran is looking for a potential co-producer at one of the biggest movie extravaganza in the world What is your objective and what do you aim to achieve at Berlinale this year? My next project is a short documentary that has been shortlisted for the Talents Short Form Station. This allows me to have a discussion with mentors from the global film fraternity and also to strengthen my network for possible collaborations. This year, I am particularly seeking a coproducer for my film. What are the new projects? I am working on a short documentary called ‘Hajra’, which will be shot in Bosnia. I have been muddling through the archive materials to know more about the subject. This year is mostly going to be spent in research on this subject matter. Could you tell us a little bit more about your documentary film ‘Hajra’? While recording a testimony for my last film, I came to know about Hajra Hadžic. While fleeing from Prijedor through the forest of Kozara, the military captured her along with other men and then detained them at Omarska. Going through the court’s proceedings on Hajra, I found her story incomplete and my attempt will be to bridge the gap between the testimonies and proceedings.
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What made you do ‘Omarska,’film? In the year 2015, I was studying at Hungarian filmmaker Bela Tarr’s film school which is in Sarajevo, Bosnia. That’s when I visited Srebrenica and I got to know more about the civil war in Bosnia. I started reading more about its history and got to know about this infamous concentration camp called Omarska. I was very much interested in knowing more about this place. While doing my research, I found that the place had been acquired by an Arcelor Mittal company, and space where people were detained and tortured, was still being used as a factory and there was no memorial in place to remember the victims that were killed at Omarska. So, through my film which extensively uses archive materials and the testimony of survivors, I erected a virtual memorial using a 3D animation of the place. What is your view on the changing face of cinema...Big Screen or Streaming? I really like the idea of bringing people to one big hall, turn off the lights and make them forget about everything else for the next few hours. I am yet to catch up with streaming. But I feel streaming provides more opportunities of freedom to express for upcoming filmmakers like me.
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the wOrld’s village fOr
domniC SanGma Interview with Dominic Sangma
Drawing creative inspiration from life and culture of the picturesque Indian state of Meghalaya, Dominic Sangma’s cinematic style has found many takers across the world. As one of the seven Indians selected for Berlinale Talents, he hopes to take his next project a step closer to fruition.
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eghalaya filmmaker Dominic Sangma has put Garo cinema on the world map with his debut film, Ma’Ama (Moan). The director’s uncompromising vision lends the film a meditative quality. He explores loss, mourning and reconciliation through the eyes of his father, who lost his wife 30 years ago and continues to live in the hope of being reunited with her one day. Sangma is now prepping for his second feature, Rapture, which will see him move from the deeply personal space of Ma’Ama to a story capturing the wider social and contemporary context of the remote village that he grew up in. The life and culture of his part of the world are an essential part of Sangma’s creative credo, but it is the cinema that he watched as a student of Kolkata’s Satyajit Ray Film and Television Institute (SRFTI) that shaped his approach to the medium. He passed out of the institute in 2014. Sangma’s SRFTI diploma film,
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Rong’kuchak, was in a competition at the Beijing Film Academy. It was there that he first met Ma’Ama coproducer Xu Jiangshang. She is on board for Sangma’s second film, too. Sangma and Xu travelled to the Cannes Film Festival last year with Rapture to participate in La Fabrique Cinema organized by Institute Francais. The Indo-Chinese coproduction was among the 10 works that were selected for the programme that had Mira Nair as a mentor. Less than a year on, Sangma is in another major European film festival.
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Sangma’s cinematic voice is, of course, unique. It is travelling – and finding takers – across the world for good reason
He is one of seven Indians selected for Berlinale Talents. In Berlin, he hopes to take Rapture a step closer to fruition. “I will follow up on the meetings done in Rotterdam and elsewhere,” says Sangma, who is now in the process of casting. Like Ma’Ama, Rapture is likely to have a cast of non-actors. “The village will be the main character of the film,” he says. “I will explore the place through one family.” Sangma plans to begin filming Rapture in September this year. “I have Dutch and French co-producers
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in place and will apply for CNC (Centre National du Cinema) funds.” Troubled by the political developments that have unsettled the Northeast, Sangma has just shot a 20-minute short fiction film to express his consternation. It is a film titled Aberration. “The shoot is over. I have just returned from a forest after recording location sound,” he reveals. The inspiration for the short film came from an incident that occurred just before Christmas a couple of years ago. An aunt of Sangma’s went into the forest to collect bananas and bamboo. Mysteriously, she lost her speech. She has been sick since then. Nobody is sure what exactly happened to her. Some people believe that a forest spirit has done this to her. Such beliefs are common in the Garo Hills. In the film, a traditional healer is sent into the jungle to look for medicinal herbs. He sees a fleeing Muslim family and a body floating in a lake. The filmmaker says that Aberration is his attempt to convey his reaction to the fear and foreboding that hang over the region following the eruption of protests against the National Register of Citizens (NRC) and the Citizenship Amendment Act (CAA). “In the Garo Hills, Christmas festivities are big. Preparations begin in the first week of December itself. This year, people could not go out and join the protests. Nobody came out and there was no beating of drums and music. This is because the sounds go all the way down to the bungalows in Assam. The people who are disturbed raise objections,” says Sangma. Sangma’s cinematic voice is, of course, unique. It is travelling – and finding takers – across the world for good reason. Saibal Chatterjee
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the Past beckOns
ivan ayr Interview with Ivan ayr
Writer-director Ivan Ayr is ready to pitch for his next project, a period drama set in the immediate aftermath of Indian Sub-Continent’s Partition, and refine the script further that draws from the experiences of his extended family who found themselves in a state of confusion in 1948 about where their future lies
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riter-director Ivan Ayr’s first film, Soni (2018), is a grim, gritty drama revolving around two policewomen holding their own in the face of daunting workplace and personal pressures. His second will be far removed from the unsafe streets of present-day Delhi. Ayr is in Berlin with “the first rough draft” of a period drama set in the immediate aftermath of the Partition, a period of great turmoil for individuals and families. The screenplay has been selected for The Berlinale Talents Script Station. Ayr is one of 10 filmmakers who will be mentored for a week as part of the programme. “My plan is to sit with mentors and see if I can refine my script a little bit. I believe four or five of the filmmakers will be further selected to pitch their projects to a panel of producers,” he says. Ayr adds: “I see the Script Station as a precursor to the Berlinale CoProduction Market, which I hope to be a part of next year.” His forthcoming film, says Ayr, is
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set in 1948, about six months after the Partition. “The story unfolds in a period when things are not set in stone. Some of the decisions have already been made but some are in a state of flux.It was a period when people were still confused about where their future lies, whether it lies in India or on the other side of the border.” Asked what has drawn him to the subject, Ayr says that neither his parents nor grandparents were Partition victims, but parts of his extended family were people who had to move when the Radcliffe Line was drawn. “Some bits of the story have come from the experiences of the
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I see the Script Station as a precursor to the Berlinale CoProduction Market, which I hope to be a part of next year
extended family, from how they were in different cities and how they found each other and reunited on the other side of the border.” Ayr, who is very much an “insider”, but in many ways is also someone looking in at Indian society from the outside. He spent his early childhood in Delhi.He went to San Francisco for higher studies and then stayed on to work in the US for a decade.He returned to India in 2018. Ayr regards Chandigarh as his hometown. “Both my parents worked for the Government of India and moved around quite a bit. We went to Chandigarh, then to Jaipur, and then back to Chandigarh, where I
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spent 12 to 13 of my formative years. My parents still live there.”Ayr works out of Chandigarh to this day because he does “not see the need to be in Mumbai”. On the ‘Soni’ screenplay, Ayr collaborated with Kislay (who went on to make one of last year’s finest independent films, ‘Aise Hee’). Will he look for a co-writer for the new film as well? “What I usually do,” he replies, “is write the first draft myself. For subsequent drafts I get somebody on board to help with refining the script and also in reimagining some parts of it. Kislay worked with me on the second and third drafts of Soni.” That will pretty much be the process once again, says Ayr. “I will get a cowriter to work with me.” “The spaces I work in dictate my style a lot,” says Ayr is response to a question on how different his new film will be from Soni. “Also, because this is a period drama, I am not likely to do everything exactly the way did in Soni.” He adds: “Something that I get inspired by is character-driven stories. That is central to my style and sensibility as a filmmaker. Sticking to characters and seeing things from their point of view is something that I will try and focus on.” Ayr’s next film, whose script development is being supported by a part of the cash that the prize that Soni won in Pingyao International Film Festival fetched him, is bound to be bigger than Soni. “Yes, it is a period drama, so it will be more ambitious and bigger in scale.” He expects to keep working on the script for “the next six months to a year”. He will think of casting and other details until next year, says Ayr.
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camera is mOst amazing thing invented
By mankind Interview with acharya venu
acharya venu, National Award Winner for Cinematography, one of the Berlinale Talents from India, talks about his journey and the most acclaimed work till date.
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charya Venu was born in a village in Warangal district of Telangana. While pursuing education, he realised that he has a niche for filmmaking, especially on the technical front. After earning a Bachelors of Fine Arts from Jawaharlal Nehru Technological University (JNTU), Hyderabad, he went on to earn a Post-Graduate Diploma in Motion Picture Photography from the prestigious Satyajat Ray Film & Televison Institute (SRFTI), Kolkata. Thereafter, he was selected to participate as one of the 24 fellows at Asian Film Academy, which was part of the Busan International Film Festival, held in Busan, South Korea, in 2013. Which projects are you currently working on? I am currently working on a Telugu film which is being directed by a debutant named Avaneendra. This is the first film in my mother tongue Telugu that I am shooting as a cinematographer. I am very excited about the project as I grew
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up watching Telugu films more than any other language. Could you share with us your journey of becoming a cinematographer? Before cinematography, it was camera—which I think is one of the most amazing things invented by mankind—that intrigued me the most. Camera allows you to freeze a moment of life and literally hold that moment in your hand in the form of a photograph. But, as a kid, I rarely got a chance to get my hands on this magical machine. However, when I was in the 10th grade, a professional photographer came to my village to capture images of some temples. I was lucky to meet him that day. I saw a big camera and lens and was instantly hooked to them like
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I admire the works of Santosh Sivan and PC Sriram. These are the masters who made me think about filmmaking
a child to a candy. That day I came to know that movies are shot with bigger cameras and that is what we see on the screen. From that day onwards, my interest in the machine got serious and I decided to become a cinematographer. I finished my graduation in Fine Arts at JNTU and applied for a cinematography course at the prestigious Satyajit Ray Film and Television Institute (SRFTI) in Kolkata and got through somehow. That’s how my journey as a cinematographer began. When you were shooting in Megalaya for Domnic Sangma’s Ma.ama, a Garo language film, you didn’t know the language. How did you manage to pull off a great job? The place where we were shooting was called Nongthomoi, an unknown territory for me in Meghalaya. The weather there was unpredictable and the light was very inconsistent. We were a crew of only 10 members and the budget was tiny. All the actors were local people who never had any experience facing the camera before. My options were very limited and I had to create something with whatever I could get my hands on. I had to shoot in a hilly village where electricity was a luxury for most residents. The people spoke a different language and there was no script in my hand. I spent few days with the crew before we started shooting. I remember trying to interact with them in my own way to understand things better. But when we started shooting, most of the crew members became my friends. Shooting was not easy as they were not trained actors, however because they grew so comfortable with me
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that they were not nervous and delivered well at the end. It’s a great surprise that you come from one of the biggest film production centres of India (andhra Pradesh), but your biggest break came from Domnic Sangma’s ‘Ma.ama’. How did it happen? I grew up watching Telugu films and I would love to shoot the same. I am always ready to shoot anywhere and in any language. Also, the director was my senior in film school, so we had discussions about making a film together in future. How was your experience when you bagged an award in the Shanghai Film Festival? Euphoric, obviously. ‘Ma. Ama’(Moan) has earned me the most prestigious accolade till date. This happened in a ceremony organized on 21st June, wherein I was awarded the Best Cinematography award in Asian New Talent of the 22nd Shanghai International Film Festival. The award was given at Shanghai Grand Theater in a star-studded festival ceremony. I could interact with many filmmakers and film lovers from around the world. The jury said about my cinematography that “it’s more truthful and organic in its approach for a new cinematographer”. ‘Ma. Ama’ was among the 14 films shortlisted out of 300 entries submitted from various countries. Who has been your major influence as cinematographer? There are many. But among Indian cinematographers, I admire the works of mostly Santosh Sivan and PC Sriram. These are the masters who made me think about filmmaking.
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lOst time fragments mY
area of Work Interview with Mukul Haloi
Mesmerised by the past, noted Indian Director and Screenwriter Mukul Haloi loves to dig like an archaeologist to uncover all the little fragments of time, one layer after another, and then reimagining them as a whole
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ooking forward to meeting and collaborating with composers, sound designers, script mentors and co-producers, noted Director and Screenwriter Mukul Haloi has high hopes from Berlinale 2020, which he is attending as one of the Berlinale Talents from India. Haloi after a number of successful short and experimental films such as ‘Loralir Sadhukath’, for which he was given the Bala Kailasam Memorial Award, talks about his first feature-length fictional debut and his other future plans in a candid conversation with Pickle Congrats you are part of Berlinale Talents 2020. What is your objective and what do you aim to achieve at Berlinale this year? Thank you. I am very much looking forward to attend the event and communicate with other talents from around the world, to discuss and innovate on new thoughts and understandings about contemporary films. I am particularly looking at meeting people who are interested in Asian films, more specifically from South Asia. As I have been developing a film, I want to make use of this platform to collaborate with technicians such as composers and sound designers and also expecting to meet script mentors and co-producers.
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What are the current projects that you are working on? I’m developing my debut feature film. It’s in the research and development stage. The film is going to be in my mother tongue Assamese. It is based upon a popular Assamese folk story. Apart from this, I’m gearing up for a short film which I expect to shoot by this summer. Also, post-production of my second docu-feature is going on. any surprise at ‘Parasite’ winning script and screenplay in Oscars? also, a non-English film has been bagging Best Picture award. Looking at the trends over the years, I think it is not very surprising that ‘Parasite’ has globally made an impact and found an acceptance among moviegoers all over the world.
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I am particularly looking at meeting people who are interested in Asian films, more specifically from South Asia.
Is being an academic helps you as director and scriptwriter? I’m not so much into academics, but I teach film in independent workshops and also write about them. It helps me to constantly question my own practices and further deepen my understanding of films. Directing films is not just a craft, but also a responsibility to do justice to your own thoughts and ideology. So, I feel that writing, teaching or reading keeps me in a conflicted territory of thoughts, which help me to create something. There has been a phenomenal change in the popular Indian cinema with content-based films working well and commercial hits falling in numbers? What are your thoughts? It’s a good sign. We as viewers have been exposed to so many film cultures of the world that now we can identify and choose our own subjects. Maybe, that’s why cinema with strong content or subjects is getting acceptance. Also, regionally there are so many good films getting produced. Specially, I am very much intrigued about the films coming out of Kerala, which are fresh, powerful and commercially viable too. Personal remembrance seems to be your forte in your works. The past mesmerizes me. Remembering it is an archaeological process—digging one layer after another; finding bits and pieces of markers to a time; accumulating them and then making a whole to imagine the time we have lost in fragments. Those fragments are my area of work. There is so much of talent coming out from north East? Do you see visible change on ground? We can see viewers’ acceptance of new
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experiments and mode of thinking, though not so significant. In the last five years, there have been many films made by new filmmakers and they all are thematically and aesthetically and linguistically/ ethnically varied. To talk specifically about Assam, some films carry the neorealist practice of Jahnu Barua, but in a refurbished way. ‘Village Rockstars’ by Rima Das is one of such films. There have been another set of films which reflect on the insurgency-torn time of Assam. Jaicheng Dohoutia’s ‘Handuk’, Reema Borah’s ‘Bokul’ are prominent ones in this thematic classification. There has also been a resurgence of films in different languages. Rabha, Mishing, Bodo, Moran, Karbi—all these languages are now getting a place in films. Few more film-makers who are creating new modes of expression are Bhaskar Hazarika, Deep Chowdhury, Kenny Basumatary, etc. Who has been your major influence in filmmaking? There have been many. But among filmmakers — Yasujiro Ozu, Andrei Tarkovsky, and Hao Hsiao hsien are three names that stand out. Finally, what are the goals you have set yourself in this decade? I haven’t planned it for so long… But I want to make as many films as possible. One film every year would be great if possible. Also, I have been thinking over setting up something to inculcate film awareness and education in school children in Assam, which I will begin soon starting with my own village. Also, I am planning to publish my first collection of essays in Assamese by this year.
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bengal filmmakers feel Pressure Of
GloriouS PaSt Interview with Prantik Basu
The illustrious history of Bengal in world cinema has added a pressure on the upcoming filmmakers, which at times, is counterproductive. Cinema coming out of the North East is devoid of such overarching ghost hence it is so much refreshing to watch, says Director and Writer Prantik Basu, one of the talents from India in Berlinale Talents 2020, who is looking forward to interacting with and learning from the industry experts and fellow filmmakers visiting Berlinale this year. Congratulations for being a part of Berliane Talents 2020. Your film ‘Rang Mahal’ was in Berlinale last year, what is your objective and what do you aim to achieve at Berlinale this year? Thank you. Yes, ‘Rang Mahal’ was in Berlinale last year and was received very warmly. It is always delightful to share one’s film to such a huge international audience. At the Berlinale Talents, my main aim
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would be to interact with and learn from the industry experts and fellow filmmakers visiting from all over the world. It is a very rare opportunity and I am very grateful to be a part of it this year. What are the new projects you are working on this year? I am presently working on the script of my first fiction feature film Dengue, besides finishing
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I am deeply moved and inspired by the contemporary Thai, Portuguese and Latin American cinema
the post-production of an ongoing documentary feature. Tell us about your film Dengue? ‘Dengue’ is a love story between two men, stranded during a sudden summer downpour in the suburbs of Calcutta. The rain plays a catalyst in bringing them together and while the roads get waterlogged and become a breeding ground for mosquitoes that carry a tropical virus, an unspeakable romance unfolds between them. I wrote the first draft at the PJLF Three Rivers Residency in Rome, under the guidance of Marten Rabarts and Olivia Stewart. Last year the project received the Hubert Bals Fund and the project now has The Film Kitchen on board as our Dutch co-producer. a huge number of independent talent has been coming out of Indian film Institutes every year. Being an alumnus of the prestigious FTII, how has it influenced you? Yes, that is true. At the same time, there are many super talented, selftaught filmmakers who are creating magnificent work. Film schools are great to nurture one’s creativity and hone the skills in a shared environment. The infrastructure is a great privilege and it spoils you to a certain degree. Since the time I graduated, I have been working with extremely minimal recourses,
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and that has been a great learning as well. What is your view on the transformation happening in cinema? What are your thoughts on Big Screen and streaming platforms? Both are completely different platforms. While one is a community experience, the other is a private one—much like ‘eating out’ and ‘take away.’ Thankfully, we are working in times where one can have bit of both, so why choose. Ideally, they both should co-exist. You are well-versed with Bengal cinema? We will be celebrating 100 years of Satyajit Ray this year? Do you see the glory of Bengal cinema making a comeback in world cinema? That is a good hope to work towards. Having said that, the illustrious history of Bengal in world cinema has added a pressure on the upcoming filmmakers, which at times, is counter-productive. Cinema coming out of the North East is devoid of such overarching ghost hence it is so much refreshing to watch. I hope we can arrive at a point where our regional specificities achieve a universal resonance. Who has been your major influence in filmmaking? I wouldn’t say influence, but I am deeply moved and inspired by the contemporary Thai, Portuguese and Latin American cinema.
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