Pickle Cannes 2024 Edition

FROM THE EDITOR

We’re excited to present Pickle’s 18th Edition at Cannes 2024. This edition of the Cannes Film Festival and Market will be etched in memory for years to come, as India breaks through with a significant achievement: a India-France CoProduction, “All We Imagine as Light,” directed by Payal Kapadia. This marks the first time in 30 years that an Indian film has been selected for the Cannes Film Festival’s official lineup, the last being Shaji N Karun’s “Swaham” in 1994. Payal Kapadia’s journey to this feat has been one of diligent steps, maneuvering through various aspects of Cannes.

This edition signifies a notable milestone for India at Cannes, showcasing a diverse range of Indian talent and creativity on the global platform.

India’s presence at Cannes is radiant, surpassing previous moments such as when India was the focus country in 2021 or even during the grand celebration of India and Cannes’s 60th anniversary in 2007. We are thrilled to feature works such as Payal Kapadia’s “All We Imagine As Light,” Sandhya Suri’s debut feature, “Santosh,” Karan Kandhari’s “Sister Midnight,” Maisam Ali’s “In Retreat,” Shyam Benegal’s “Manthan,” and “Sunflowers Were First Ones to Know” by Chidanand Naik.

Additionally, cinematographer Santosh Sivan is honored with the prestigious Pierre Angénieux Tribute for 2024, a historic moment as the first Indian to receive this accolade.

India’s presence at Cannes extends beyond the screen, with the reimagined Bharat Pavilion showcasing the country’s commitment to fostering a supportive ecosystem for filmmaking. From revised incentives for filmmakers to the AVGC XR Policy, India offers immense opportunities for global filmmakers.

Our cover story delves into India’s revised incentives for filmmakers, highlighting the country’s potential for live shooting, production, coproduction, and AVGC-XR services. The India Film Guide provides comprehensive information on new reforms aimed at strengthening the Indian film ecosystem.

In this edition, we explore Cannes’s Legacy, Technological Resurgence, and Cinematic Vision with filmmaker Shaji N. Karun, reflecting on Cannes’s role in nurturing talent, fostering collaborations, and advancing cinematic craftsmanship. We also have a thought leader column by French producer Piere Assouline, who has been a cheerleader for Indian cinema.

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Pickle is an ad supported business guide tracking the filmed entertainment business in India.

Congratulations to Annecy Festival and its team for being a torch-bearer of

16 MAY | 14:30 Golden Horse Film Festival (Taiwan)

17 MAY | 14:00 Adelaide Film Festival (Australia)

18 MAY | 12:00 Solothurn Film Festival (Switzerland)

18 MAY | 14:00 Tallinn Black Nights Film Festival (Estonia)

18 MAY | 16:00 Queer Screen - Mardi Gras Film Festival (Australia)

19 MAY | 14:00 Hong-Kong - Asia Film Financing Forum (Hong Kong)

20 MAY | 10:00 Ventana Sur (Argentina)

Photo © Marché du Film

INDIA’S BIG MOMENT AT CANNES 2024

As we celebrate India’s cinematic journey at Cannes 2024, let us also celebrate the filmmakers who dare to dream, the stories that touch our hearts, and the power of cinema to inspire, entertain, and enlighten

India shines brightly on the global cinematic stage as it makes an unprecedented mark at the 77th edition of the Cannes Film Festival. A record-breaking eight films, each showcasing the rich diversity of Indian storytelling, take center stage in various sections of the prestigious festival. This historic feat not only underscores the burgeoning talent within the Indian film industry but also signals a significant shift in global recognition and appreciation for Indian cinema.

India is gearing up for its significant participation in the 77th Cannes Film Festival, showcasing its vibrant film industry and creative talent. The Bharat Pavilion, designed by NID Ahmedabad, symbolizes this year’s theme of “Create in India” and serves as a hub for industry collaboration and networking. With participation from multiple Indian states, including Goa, Maharashtra, Jammu & Kashmir, Karnataka, Jharkhand, and Delhi, India aims to showcase its diverse filming locations and talent pool. Additionally, sessions such as “Abundant Incentives and Seamless Facilitations - Come, Create in India” and interactive discussions at the Bharat Pavilion will spotlight India’s incentives for film production, international collaboration opportunities, and its emergence as a premier filming destination.

A Grand Show for India

A highlight of India’s participation is the inaugural celebration of “Bharat Parva” at the Cannes Film Festival, a momentous occasion that will bring together luminaries and delegates from across the world. This event aims to showcase India’s rich tapestry of creative talent, providing a platform for interaction between global dignitaries and the Indian film industry. Notably, the official poster and trailer of the 55th India International Film Festival (IFFI), slated for November 2024 in Goa, will be unveiled during Bharat Parva. Additionally, the event will mark the release of the “Save the Date” for the 1st World AudioVisual & Entertainment Summit (WAVES), to be held alongside IFFI.

At the heart of India’s presence lies the Bharat Pavilion, designed by the National Institute of Design (NID), Ahmedabad. Inspired by ‘The Sutradhara,’ this pavilion embodies the theme of “Create in India,” offering a space for industry collaborations, knowledge sharing sessions, and networking opportunities. Organized by the National Film Development Corporation (NFDC) in collaboration with the Federation of Indian Chambers of Commerce & Industry (FICCI), the pavilion serves as a hub for fostering partnerships and advancing the Indian film industry on a global scale.

Celebrating India’s Cinematic Journey

India’s moment at Cannes Film Festival 2024 is not just a celebration of cinematic achievements but also a testament to the country’s vibrant storytelling tradition, diverse cultural landscape, and emerging global influence in the world of cinema. As Indian filmmakers continue to push boundaries, tell stories that resonate across borders, and capture the hearts and minds of audiences worldwide, their presence at Cannes serves as a reminder of the power of cinema to transcend barriers and unite people in shared experiences of joy, empathy, and inspiration.

From PayalKapadia’s poetic exploration of dreams and desires in “All We Imagine as Light” to Konstantin Bojanov’s gritty portrayal of love and redemption in “The Shameless,” Indian cinema at Cannes 2024 offers a kaleidoscope of narratives, genres, and themes that reflect the country’s complex realities and aspirations. As audiences immerse themselves in these

cinematic journeys, they are transported to a world where the human experience is celebrated in all its beauty, complexity, and diversity.

But India’s presence at Cannes is not just about the films themselves; it’s also about the filmmakers, actors, producers, and technicians who bring these stories to life with passion, creativity, and dedication. Behind every film is a team of individuals who pour their hearts and souls into their craft, pushing the boundaries of what is possible and inspiring others to dream big and reach for the stars.

As India’s film industry continues to evolve and grow, fueled by the support of government incentives, global collaborations, and a burgeoning domestic market, its presence at Cannes serves as a testament to the country’s emergence as a major player on the world stage. With its rich cinematic heritage, diverse talent pool, and unwavering commitment to storytelling excellence, India is poised to make an even bigger impact on the

© MARCHE DU FILM

INDIAN CINEMA SHINES AT CANNES

In Retreat | By Maisam Ali | ACID Cannes

All We Imagine as Light | by Payal Kapadia | Competition

Sunflowers Were First Ones to Know | By Chidanand Naik | La Cinef

Santosh | By Sandhya Suri | Un Certain Regard

Sister Midnight | By Karan Kandhari | Directors’ Fortnight

Santosh Sivan | Pierre Angénieux Tribute

Mantan | By Shyam Benegal Cannes Classics

international film scene in the years to come.

A Breakthrough in Competition

FTII alumna PayalKapadia’s debut narrative feature, “All We Imagine as Light,” earns a coveted spot in the festival’s Main Competition, marking the first time in three decades that an Indian film competes for the prestigious Palme d’Or. Kapadia’s compelling narrative, weaving together the stories of two Malayali nurses in Mumbai, captivates audiences with its poignant portrayal of human emotions and dreams.

FTII Shines Bright

The Film and Television Institute of India (FTII) emerges as a powerhouse of talent with multiple entries at Cannes.

Chidananda S. Naik’s “Sunflowers Were the First Ones to Know...” and Maisam Ali’s “In Retreat” showcase the institute’s commitment to nurturing emerging filmmakers and pushing artistic boundaries.

India’s Presence Across Sections

From the Un Certain Regard to Directors’ Fortnight, Indian

films leave an indelible mark across various sections of the festival. SandhyaSuri’s “Santosh” and Karan Kandhari’s “Sister Midnight” explore diverse themes with depth and nuance, while Konstantin Bojanov’s “The Shameless” delves into the complexities of human relationships against the backdrop of North India.

In a historic moment, renowned cinematographer Santosh Sivan will receive the prestigious Pierre Angenieux tribute at the Cannes Film Festival, becoming the first Indian to be bestowed with this honor. Sivan will also deliver a masterclass, showcasing his illustrious career and contributing to the global discourse on cinematography.

Immersive Storytelling

India’s foray into Extended Reality (XR) projects with “Maya: The Birth of a Superhero” underscores its commitment to embracing innovative storytelling techniques. This groundbreaking project challenges traditional narratives and amplifies the voices of South Asian women fighting for freedom and empowerment.

© MARCHE DU FILM

Restoring Cinematic Heritage

ShyamBenegal’s iconic film

“Manthan,” restored to its full glory in 4K, takes audiences on a nostalgic journey through India’s rich cinematic heritage. The film’s inclusion in the Cannes Classics section celebrates India’s legacy of storytelling and reaffirms its enduring relevance in the global cinematic landscape.

India’s Cannes Delegation

With over 300 Indian delegates representing 100+ companies, including the Confederation of Indian Industry (CII) and the Indian Motion Picture Producers’ Association (IMPAA), India’s presence at Cannes is not just about showcasing films but also forging crucial partnerships and collaborations on the global stage.

Looking Ahead

As India’s film industry continues to grow and diversify, fueled by incentives, economic growth, and global outreach, its presence at Cannes serves as a testament to its artistic prowess and cultural resonance. With an array of

compelling narratives and innovative storytelling, India is poised to make an even bigger splash on the international film scene in the years to come.

As India takes center stage at the Cannes Film Festival, it reaffirms its position as a powerhouse of creativity and innovation, poised to leave an indelible mark on the global cinematic landscape.

AT THE HEART

OF INDIA’S PRESENCE LIES THE BHARAT PAVILION, DESIGNED BY THE NATIONAL INSTITUTE OF DESIGN (NID), AHMEDABAD. INSPIRED BY ‘THE SUTRADHARA,’ THIS PAVILION EMBODIES THE THEME OF “CREATE IN INDIA,” OFFERING A SPACE FOR INDUSTRY COLLABORATIONS, KNOWLEDGE SHARING SESSIONS, AND NETWORKING OPPORTUNITIES.

EXPLORE THE GLOBAL CINEMA’S EPICENTER

The Marché du Film stands as the pinnacle gathering for global film professionals, offering a diverse array of opportunities for producers, distributors, buyers, programmers, and more. As the heart of the film industry beats fervently from May 14 to May 22, 2024, here’s what you can anticipate from this year’s event.

Unraveling the Essence

With over 14,000 professionals in attendance and a staggering 4,000 films and projects on display, the Marché du Film is where business deals are forged, creativity flourishes, and connections thrive. Amidst a whirlwind of 200 industry events, attendees delve into the pulse of the film world, seeking inspiration, collaboration, and transformative opportunities. From high-profile film premieres to intimate networking sessions, the Marché du Film sets the stage for cinematic excellence and innovation.

Switzerland, Country of Honour Switzerland, named Country of Honour at the upcoming 2024 edition of the Marché du Film – Festival de Cannes, is set to captivate attendees from 14 to 22 May at the 77th Festival de Cannes.

Organized by the promotion agency Swiss Films and in collaboration with the Swiss Federal Office of Culture and the Swiss Broadcasting Corporation SRG SSR, Switzerland’s participation in Cannes promises to showcase the nation’s multifaceted contributions to the global film industry throughout the entire film

and market event.

Why Attend?

The Marché du Film is not merely a marketplace; it’s a catalyst for growth and innovation. From expanding your network to discovering coproduction possibilities, the event provides tailored experiences to nurture your projects and propel them to new heights. With face-to-face meetings serving as the cornerstone of collaboration, the Marché du Film ignites sparks of creativity and fosters relationships that endure beyond the event’s conclusion. Whether you’re a seasoned industry veteran or a rising star, the Marché du Film offers a dynamic platform to showcase your work, engage with industry peers, and explore new avenues for success.

A Global Convergence

Attracting luminaries from across the globe, the Marché du Film offers a vibrant platform for industry players to converge, exchange ideas, and make impactful deals. From producers and distributors to festival representatives and financiers, the event embraces diversity and inclusivity, reflecting the rich tapestry of the global film

community. Through collaborative partnerships and cross-cultural exchanges, the Marché du Film fosters a spirit of camaraderie and solidarity that transcends geographical boundaries, uniting filmmakers and industry professionals in a shared passion for storytelling and cinematic excellence.

Immersive Experiences

Dive into a world of cinematic wonder as you explore more than 200 events, including pitching sessions, workshops, and exclusive film screenings from the Festival de Cannes Official Selection. Engage in thematic speed meetings, enriching conferences, and vibrant networking events that celebrate the spirit of cinema and foster meaningful connections. From in-depth discussions on industry trends to hands-on workshops on the latest filmmaking techniques, the Marché du Film offers a diverse range of experiences tailored to the needs and interests of industry professionals at every stage of their careers.

Beyond Borders

Venture into the Village International and discover the cultural mosaic of over 80 countries represented in around 60 pavilions. Uncover new

film locations, explore tax rebates, and forge partnerships that transcend geographical boundaries, amplifying the reach and impact of your projects. Whether you’re seeking exotic filming locations, financial incentives, or strategic alliances with international partners, the Marché du Film provides a fertile ground for exploration and discovery, offering unparalleled opportunities for growth and collaboration in the global film industry.

Experience the Extraordinary

Whether you’re a seasoned producer or a budding filmmaker, the Marché du Film offers tailored programs to elevate your experience. From the Producers Network to Cannes Docs and Cannes XR, delve into dedicated platforms designed to empower creativity, foster collaboration, and drive innovation in the ever-evolving landscape of global cinema. Engage with industry leaders, discover new talent, and explore cutting-edge technologies that are shaping the future of filmmaking. As we embark on this cinematic journey, let’s embrace the boundless opportunities that await us at The Marché du Film, where creativity knows no bounds, and the future of filmmaking is forged with passion and purpose.

FILMING HUB WITH BIG PERKS INDIA

Step into India’s vibrant cinematic world, where diverse landscapes, rich heritage, and enticing incentives beckon filmmakers worldwide. From Cannes acclaim to state-level support, India’s allure as a filmmaking hub is undeniable. Explore the incentives shaping India’s cinematic renaissance

In the bustling landscape of global filmmaking, India stands as a beacon of opportunity, offering a tapestry of incentives and advantages to filmmakers worldwide. From its diverse landscapes to its rich cultural heritage, India’s allure knows no bounds. In a strategic move to position itself as a premier destination for international film production, India has unveiled a series of lucrative incentive schemes aimed at attracting

The incentive has been increased from 30% to 40% of the expenses incurred, with a higher ceiling limit of INR 30 crore or 3.6 million US dollars per project

filmmakers from around the globe. Spearheaded by the Ministry of Information and Broadcasting, these initiatives cover a broad spectrum of filmmaking processes, including live shoots, co-productions, animation, visual effects, and post-production services.

The revised incentive schemes of upto $3.6 mn introduced in November 2023 mark a pivotal moment, propelling India into the spotlight as a premier destination

for film production and collaboration. The incentives for filming witnessed almost a 12 fold jump compared to the incentives offered prior to November 2023, which made India one of the top

countries in the world in terms of quantum of funding being offered to global filmmakers. From the prestigious Cannes Film Festival to burgeoning partnerships, India’s cinematic renaissance

ADVANTAGE INDIA: A FILMMAKER’S PARADISE

India’s cinematic journey is as diverse as its cultural tapestry. Boasting a kaleidoscope of landscapes, from the majestic Himalayas to the serene beaches of the South, India offers filmmakers a canvas like no other. Its status as the world’s largest film producer speaks volumes about its expertise and infrastructure, with hubs like Mumbai, Chennai, and Hyderabad leading the charge.

INCENTIVES FOR FILMMAKERS IN INDIA

• Financial Support: The government offers to refund up to 40% of the money filmmakers spend on certain things like filming in India. They can get back up to Rs 30 Crore to encourage more foreign films to be made in India.

• Co-Production Benefits: If a film is made jointly by Indian and foreign companies, the government can give back up to 30% of the money spent in India for the film. They may get extra benefits if they use Indian workers or include a lot of Indian culture in the film.

• Collaborative Partnerships: International film companies working with Indian partners, like production companies or animation studios, can also get incentives. This encourages teamwork between Indian and foreign filmmakers.

• Simplified Processes: There are clear rules and steps to follow to get these incentives, making it easier for filmmakers to understand and apply. There are also quick interim approvals to keep things moving smoothly.

• Fair Access: These incentives are given out on a first-come-first-served basis every year. This makes sure everyone has a fair chance to get support for their projects.

• State-Level Support: Different states in India also offer their own benefits, like tax breaks or special deals, to attract filmmakers. This helps the film industry grow all across India.

• Support for Specific Areas: Some states focus on giving extra help to certain parts of filmmaking, like animation or visual effects. This shows they understand the needs of different parts of the industry.

• Transparency and Efficiency: The government makes sure these programs are clear and run smoothly. This helps filmmakers trust the system and focus on making great films.

is fueled by enticing opportunities that promise to redefine the global filmmaking landscape.

India’s cinematic landscape, adorned with a tapestry of cultural richness and scenic diversity, has enticed filmmakers from across the globe. In a visionary stride to fortify its stature as a premier cinematic hub, India has introduced a groundbreaking initiative, significantly elevating incentives for documentary and TV series productions.

This monumental leap underscores India’s steadfast dedication to nurturing artistic expression and expanding its footprint in the global documentary and television sphere.

A Quantum Leap in Incentives

At the inaugural of the 54th International Film Festival of India, Union Minister Anurag Singh Thakur announced a remarkable surge in incentives for foreign film production in

INDIA HAS FORGED STRONG PARTNERSHIPS WITH FRANCE, WITH SEVEN OFFICIAL COPRODUCTIONS, SHOWCASING THE DIVERSITY AND RICHNESS OF CINEMATIC STORYTELLING BETWEEN THE

TWO NATIONS

the country. The incentive has catapulted from 30% to an impressive 40% of the expenses incurred, accompanied by an elevated cap limit of INR 30 crore (approximately 3.6 million US Dollars per project). This substantial enhancement will allure medium and large-scale international documentary and TV series projects to India, accentuating the country’s attractiveness as a mecca for visual storytelling.

Incentives Galore: A Testament to India’s Commitment

These incentives encompass a spectrum of formats, including documentaries, TV series, feature films, animation films, and web series. International studios embarking on projects in India, alongside Indian post-production service providers and companies offering animation and VFX services, stand eligible to harness these incentives. Furthermore, co-production endeavors under agreements inked between India and 16

other nations can also reap the benefits of these incentivized schemes.

Streamlined Processes for Enhanced Efficiency

In a concerted effort to streamline operations and bolster ease of conducting business, India has simplified the application and disbursal processes for incentives. While permissions from the Ministry of Information & Broadcasting/ Ministry of External Affairs (specifically for documentaries) remain essential for live shoots, animation, and post-

production services now enjoy expedited processes without the necessity of prior permissions. This streamlined approach epitomizes India’s proactive endeavor to foster a filmmaker-friendly environment.

FFO: A Catalyst for Cinematic Endeavors

Central to India’s cinematic odyssey is the Film Facilitation Office (FFO), operating under the aegis of the National Film Development Corporation (NFDC). Serving as a pivotal conduit for facilitating filming in India, the FFO

operates as a singular window facilitation and clearance mechanism. Its online portal, www.ffo. gov.in, stands as a beacon for filmmakers, offering seamless access to permits, co-production treaties, and comprehensive guidance for navigating the labyrinth of filming in India.

Charting a New Era of Growth

India’s paradigm shift in incentivizing film production heralds a new era of unparalleled opportunities and growth prospects for both local and international film projects. By aligning incentives

BY INCENTIVIZING POST-PRODUCTION

ACTIVITIES AND

INCENTIVES FOR

OFFERING

FILMING IN

INDIA,

THE GOVERNMENT AIMS TO POSITION THE COUNTRY AS A HUB FOR POSTPRODUCTION SERVICES, ATTRACTING INTERNATIONAL PROJECTS AND BOOSTING THE GROWTH OF THE FILM INDUSTRY

the world’s largest film producer speaks volumes about its expertise and infrastructure, with hubs like Mumbai, Chennai, and Hyderabad leading the charge.

with global standards, India seeks to catalyze job creation, promote tourism, and elevate its global standing in the cinematic realm. With its policy interventions and proactive measures, India is poised to emerge as the epitome of cinematic excellence, fostering a vibrant and inclusive landscape for filmmakers worldwide.

Advantage India: A Filmmaker’s Paradise

India’s cinematic journey is as diverse as its cultural tapestry. Boasting a kaleidoscope of landscapes, from the majestic Himalayas to the serene beaches of the South, India offers filmmakers a canvas like no other. Its status as

India’s emergence as a global film production hub is underpinned by a myriad of advantages, ranging from its diverse landscapes to its rich cultural heritage and robust infrastructure. Boasting a geographical and cultural tapestry like no other, India offers filmmakers a treasure trove of locations, from snowcapped Himalayan peaks to sun-kissed beaches, that can effortlessly double for settings from around the world. Furthermore, India’s status as the world's largest film producer underscores its expertise and infrastructure in catering to the demands

Kerala

of both domestic and international productions. With cinematic hubs like Mumbai, Chennai, Kolkata, and Hyderabad, India provides a conducive ecosystem for filmmaking across languages and genres.

Unlocking India’s Animation and

Visual

Effects Potential

In a strategic move to bolster its global standing, India has rolled out enticing incentive schemes for international film projects. Managed by Invest India and administered by the Film Facilitation Office (FFO), these schemes aim

INDIAN MISSIONS

ABROAD PLAY A CRUCIAL ROLE IN FACILITATING FILMMAKERS WHO WISH TO COMMENCE OR FINALIZE THEIR PROJECTS IN INDIA. THESE DIPLOMATIC OUTPOSTS SERVE AS VITAL HUBS OF SUPPORT AND GUIDANCE, PROVIDING FILMMAKERS WITH VALUABLE RESOURCES AND ASSISTANCE AT EVERY STEP OF THE PROCESS

to attract international filmmakers and encourage collaborations through official co-productions.

Navigating Incentives: A Roadmap to Success

The revised incentive policies, managed by Invest India and administered by the Film Facilitation Office (FFO), offer a comprehensive framework to support international film projects. With reimbursements of up to 40% of qualifying production expenditure (QPE) and enhanced caps, filmmakers are empowered to realize their creative visions while tapping into India’s diverse resources. Furthermore, streamlined application processes and equitable resource allocation ensure transparency and efficiency, fostering a conducive environment for filmmakers to thrive.

Application Process and Disbursement

The application process involves two stages: Interim Approval and Final Approval, ensuring compliance with all necessary documentation and deadlines.

Disbursement milestones are structured to affirm India’s contribution to the project, with incentives released upon successful evaluation.

State-Level Film and ACGC Policies Incentives

In addition to central government schemes, various Indian states offer their own incentives to bolster filmmaking within their jurisdictions. In Maharashtra, Karnataka,

Kerala, and Telangana, the policies have been successfully implemented and are currently active, fostering socioeconomic development in their respective regions. Meanwhile, in Goa and West Bengal, policies await renewal, indicating a commitment to adapting and improving strategies for continued progress. Drafts for policies in Haryana, Uttar Pradesh, Madhya Pradesh, Rajasthan, and Tamil Nadu have reached completion and are awaiting cabinet approval, signifying imminent steps towards their execution. Furthermore, new policy frameworks are under development for the AVGCXR sector in states like Odisha, Gujarat, Andhra Pradesh, Jammu and Kashmir, Sikkim, and Uttarakhand, as well as the seven states comprising North East India, reflecting a comprehensive approach to promote growth and innovation across diverse sectors and geographical regions.

Embracing India’s Cinematic Odyssey

As India’s cinematic odyssey unfolds, filmmakers worldwide are invited to embark on a journey of creativity, innovation, and cultural exchange like never before. With its rich heritage, diverse landscapes, and transformative incentives, India stands poised to redefine the global filmmaking landscape. By unlocking the potential of international collaborations and nurturing local talent, India paves the way for a vibrant future marked by creativity, inclusivity, and excellence in filmmaking.

CANNES’ BOLLYWOOD PIONEERS: REMEMBERING THE HINDUJA LEGACY

From introducing iconic directors to the international stage to hosting legendary Bollywood gatherings overlooking the Croisette, the legacy of the Hindujas is synonymous with bridging continents and cultures in the world of cinema

Cannes has always been regarded as the Mecca of World Cinema. An equivalent to an Oscar, it is the dream of every filmmaker to be invited to this Mecca and showcase one’s talent to the who’s who of the world of Cinema.

The Indian Film Industry, perhaps the largest in the world when measured by the number of films produced annually, is over a century old. Yet for a Global South country, back in the 1950s, to make a mark in Cannes was considered the stuff of lifetimes ahead until the band

NURTURING INDIA’S RED CARPETS AND REEL DREAMS

• Hinduja’s journey unfolds across prestigious institutions like Cambridge and Columbia University, revealing a deep spirituality rooted in his forefathers’ religiosity. His private nature is underscored by a commitment to meditation and prayer, seeking answers along the sacred banks of the Ganges and in solemn rituals. Esteemed spiritual leaders, from the Dalai Lama to Swami Shankar Acharya, recognized and respected his spiritual pursuits.

• His endeavors garnered appreciation from figures like the Archbishop of Canterbury, reflecting Hinduja’s universal acceptance and positive impact. Beyond spirituality, Hinduja embraced his creative side, earning accolades from Hollywood moguls and becoming a driving force in global cinema. With over 1200 films under his belt, including collaborations with Bollywood legends, his influence reshaped the entertainment landscape, bridging continents and cultures.

• The Hinduja’s impact extends beyond the realms of spirituality and cinema. Last year at Cannes, they unveiled a book, further cementing their legacy as cultural patrons. Their influence in Bollywood is profound, having introduced illustrious directors like Sanjay Leela Bhansali, Vidhu Vinod Chopra, and the esteemed Raj Kapoor family to the prestigious festival. Other luminaries, including Yash Johar and Subhash Ghai, also owe their Cannes debut to Hinduja’s guidance and support. Film Director Jerome P. and Swiss festival curator Nadia Dresti fondly recall the delightful Indian cuisine served at the Hinduja villa, a testament to their hospitality and commitment to fostering cultural exchange amidst the glitz and glamour of the Croisette.

of Hinduja Brothers, led by the Late Mr SP Hinduja and GP Hinduja arrived on the scene.

Today the Hindi Cinema, popularly referred to as Bollywood, is famous the world over. With the Indian diaspora settled abroad in millions, they form a ready and profitable market for all Hindi Cinema Producers. This popularity of Hindi Cinema, which today has

TO INTRODUCE INDIAN CINEMA AND ITS CINE STARS TO THE CANNES FILM FESTIVAL, IN 1973, THE HINDUJA BROTHERS BEGAN HOSTING THE INDIAN FILM INDUSTRY STALWARTS ALONG WITH THE INTERNATIONAL ERUDITE AUDIENCE OF THE WORLD CINEMA WHO ANNUALLY GATHER THERE, AT VILLA PARADISE, THEIR HOME IN CANNES

come to be taken for granted, was not so 60-70 years ago.

The Hinduja Brothers believed in the potential of Indian Cinema to be the biggest cultural ambassador of India.

The 1200 Indian Films they financed, edited, dubbed and released overseas went on to establish the foundation of Indian cinematic footprint in the world cinema. They put in their hard-earned money with bucketloads of sweat, with the youngest brother, Ashok Hinduja, managing the dubbing and editing studio operations, to seed many of the global fields which were then arid for Indian Films - from Iran and the Middle East to Israel to London - eventually creating an oasis that today gives leafy refuge to many young creative directors

who continue to come by the dozen. What is most remarkable, the brothers, who inherited a thriving trading operation then, did this ONLY to promote Indian Culture, never for profit: an intuitive attempt to sell the ‘Made in India’ label abroad.

They even had the foresight to bring Bollywood to Cannes! Raj Kapoor’s magnum opus “Sangam” was even screened at Cannes. So successful was the film’s run, back then, in the UK and Europe, that Hindujas named their London Corporate Office after it - Sangam Ltd.

To introduce Indian Cinema and its cine stars to the Cannes Film Festival, in 1973, the Hinduja Brothers began hosting the Indian Film Industry stalwarts along with the international

The Indian Film Industry, perhaps the largest in the world when measured by the number of films produced

annually,

is over a century old. Yet for a Global South country, back in the 1950s, to make a mark in Cannes was considered the stuff of lifetimes ahead until the band of Hinduja Brothers, led by the Late Mr SP Hinduja and GP Hinduja arrived on the scene.

erudite audience of the world cinema who annually gather there, at Villa Paradise, their home in Cannes. Best, per the long-standing tradition of the Hinduja Family, the global cinematic fraternity is served pure vegetarian spread, and the dinner party is now an inseparable part of the social calendar of the Festival. Prakash Hinduja, the 3rd of the Hinduja Brothers, hosts these parties every year. Many Indian Cinestars, from yesteryear’s great Dev Anand to Aishwarya Rai, Shahrukh Khan to AR Rahman have graced their parties at Cannes.

Sanjay Jumani, nephew of SP Hinduja and a stalwart from Sunstone, Entertainment brings over three decades of experience in marketing and distributing films worldwide. He’s here at the festival this year to curate content for OTT platforms and secure cable rights for the upcoming year.

This simple but long-standing gesture has strengthened and celebrated the growing IndoFrench bilateral ties. And the Hindujas proudly carry on this tradition to date.

Anora is an upcoming American drama film written and directed by Sean Baker and starring Mikey Madison.

The film was selected to compete for the Palme d’Or at the 77th Cannes Film Festival, where it is set to premiere on May 21, 2024.

The movie is about a young sex worker from Brooklyn marries the son of a Russian oligarch. Her fairytale marriage is threatened when the man’s parents travel to New York to force an annulment.

ANORA Sean BAKER

An Unfinished Film is an upcoming 2024 documentary film directed by Lou Ye, and written by Yingli Ma and Ye. It will have its world premiere on 16 May 2024 at the 2024 Cannes Film Festival, in the Special Screenings section. A film crew reunites near Wuhan to resume the shooting of a film halted ten years earlier, only to share the unexpected challenges as cities are placed under lockdown. Lou Ye born 1965, is a Chinese screenwriter-director who is commonly grouped with the “Sixth Generation” directors of Chinese cinema.

AN

UNFINISHED FILM LOU Ye

COMPETITION

Beating Hearts (French: L’Amour ouf) is an upcoming romantic comedy musical film directed by Gilles Lellouche from a screenplay he co-wrote with Audrey Diwan, Ahmed Hamidi and Julien Lambroschini, based on the 1997 Irish novel Jackie Loves Johnser OK? by Neville Thompson. It stars François Civil and Adèle Exarchopoulos.

The story spans 20 years and begins in the North East of France with two teenagers who fall madly in love, a girl from an upper-middle-class family and a boy from a working-class family. Their love story is quickly doomed to failure when he ends up becoming a criminal and spends 12 years in prison.

The film is a co-production between France and Belgium. It will have its world premiere at the 77th Cannes Film Festival on 23 May 2024 in official competition, and will be released theatrically in France by StudioCanal on 16 October 2024.

BEATING HEARTS (L’AMOUR OUF) Gilles LELLOUCHE

CANNES PREMIER

Limonov: The Ballad is a 2024 film directed by Kirill Serebrennikov. It is based on Emmanuel Carrère’s 2011 book Limonov, a novelized biography of the Russian dissident writer and politician Eduard Limonov, who founded the National Bolshevik Party.

The film was selected to compete for the Palme d’Or at the 77th Cannes Film Festival, where it is set to premiere on 19 May 2024.

In May 2022 Serebrennikov became the only Russian director to participate in the Cannes Film Festival with his film Tchaikovsky’s Wife.

LIMONOV – THE BALLAD Kirill SEREBRENNIKOV

CANNES PREMIER

Being Maria is an upcoming 2024 biographical drama film co-written and directed by Jessica Palud. It is an adaptation of Vanessa Schneider’s 2018 memoir My Cousin Maria Schneider. It is about the actress Maria Schneider (1952–2011) and dramatizes her experiences working on Bernardo Bertolucci’s feature film Last Tango in Paris (1972). It stars Anamaria Vartolomei in the title role, with Yvan Attal and Matt Dillon in supporting roles. 19-year-old Maria Schneider, daughter of French actor Daniel Gélin, features in the 1972 erotic drama Last Tango in Paris by Italian director Bernardo Bertolucci. In the work she stars alongside the celebrated American actor Marlon Brando. The story follows an older American man who meets a young French woman in an apartment in Paris where they begin an anonymous sexual relationship. Maria becomes a star overnight through the role of Jeanne, but is unprepared for the fame and scandal that the film triggers. Jessica Palud is known for Revenir (2019), Marlon (2017) and The Dreamers (2003).

BEING MARIA Jessica PALUD

COMPETITION

It’s Not Me is self-portrait written in the first person. It is described by CG Cinéma as a “free-form” and “cut-up” film which features Leos Carax rediscovering the figures from his oeuvre. Traversing his 40-year filmography, it visits the decisive moments of his career, while capturing the political evolution of that time. He won the Cannes Film Festival Award for Best Director at the 2021 Cannes Film Festival for Annette (2021). Carax’s 2012 film Holy Motors also stars Lavant. The film competed for the Palme d’Or at the 2012 Cannes Film Festival.

C’EST PAS MOI” (IT’S NOT ME) Leos CARAX

Parthenope is an upcoming 2024 ItalianFrench film written, produced and directed by Paolo Sorrentino. The film was selected to compete for the Palme d’Or at the 77th Cannes Film Festival, where it is set to premiere on 21 May 2024. According to Sorrentino, the film is about a woman named Partenope “who bears the name of her city but is neither siren nor myth.

Caught by the Tides is an upcoming 2024 Chinese drama film directed by Jia Zhangke. The film was selected to compete for the Palme d’Or at the 77th Cannes Film Festival, where it is set to premiere on 18 May 2024. In early 2000s China, Qiao Qiao and Guao Bin share a passionate but fragile love. When Guao Bin disappears to try his luck in another province, Qiao Qiao decides to go looking for him. Jia Zhangke is a Chineselanguage film and television director, screenwriter, producer, actor and writer.

COMPETITION

Emilia Pérez is an upcoming musical crime comedy film written and directed by Jacques Audiard. Jacques Audiard 2015 film Dheepan won the Palme d’Or at the 2015 Cannes Film Festival.

The movie is about a woman who is tasked with assisting an escaped Mexican cartel leader undergo sex reassignment surgery to both evade the authorities and affirm her gender.

It stars Karla Sofía Gascón in the title role, with Selena Gomez, Zoe Saldaña, and Édgar Ramírez in supporting roles. The film is selected to compete for the Palme d’Or and Queer Palm at the 77th Cannes Film Festival, where it is set to premiere on 18 May 2024.

CAUGHT BY THE TIDES (FENG LIU YI DAI) JIA Zhang-Ke

EMILIA PÉREZ Jacques AUDIARD

SPECIAL SCREENINGS

The movie follows Ernest Cole’s journey as the first Black freelance photographer in apartheid South Africa. The film is directed by Raoul Peck and stars LaKeith Stanfield. Raoul Peck is a Haitian filmmaker of both documentary and feature films. He is known for using historical, political, and personal characters to tackle and recount societal issues and historical events. Peck was Haiti’s Minister of Culture from 1996 to September 1997.

ERNEST COLE, LOST AND FOUND

PECK

SPECIAL SCREENINGS

Bird is an upcoming drama film written and directed by Andrea Arnold and starring Barry Keoghan. The film is scheduled to have its world premiere at the 77th Cannes Film Festival on 16 May 2024. Andrea Arnold, OBE (born 5 April 1961) is an English filmmaker and former actor. She won an Academy Award for her short film Wasp in 2005. Her feature films include Red Road (2006), Fish Tank (2009), and American Honey (2016), all of which have won the Jury Prize at the Cannes Film Festival.

Furiosa: A Mad Max Saga is an upcoming post-apocalyptic action adventure film co-produced and directed by George Miller, who co-wrote it with Nico Lathouris. It is the fifth installment in the Mad Max franchise, serving as both a spin-off and prequel to Mad Max: Fury Road (2015). The film stars Anya Taylor-Joy and Alyla Browne as the titular character Imperator Furiosa, with Chris Hemsworth and Tom Burke also starring.

In October 2018 it was announced that Miller would direct Three Thousand Years of Longing, which began filming in November 2020. The film premiered at the Cannes Film Festival in May 2022.

COMPETITION

Motel Destino is an upcoming 2024 erotic thriller film directed and co-written by Karim Aïnouz. It stars Iago Xavier, Nataly Rocha and Fábio Assunção in the lead roles. The film was selected to compete for the Palme d’Or and Queer Palm at the 77th Cannes Film Festival, where it is set to premiere on 22 May 2024. The neon-hued Motel Destino, a roadside sex hotel shimmering (or a similar word) under the burning blue skies of the northeastern coast of Brazil, is run by hot-headed Elias and his restless younger wife Dayana. The unexpected arrival of 21-year-old Heraldo, on the run after a botched hit, disrupts the established order. As the tropical noir plays out, loyalties and desires intertwine to reveal that destiny has its own enigmatic design. Karim Aïnouz is a Brazilian film director and visual artist. He is best known for his film The Invisible Life of Eurídice Gusmão.

COMPETITION

Grand Tour is an upcoming 2024 period drama film co-written and directed by Miguel Gomes. The film was selected to compete for the Palme d’Or at the 77th Cannes Film Festival, where it is set to premiere on 22 May 2024.

In 1917, Rangoon, Burma is a city under British colonial rule. Civil servant Edward abandons his fiancée Molly on the day they are to be married. He flees in a state of melancholy, contemplating Molly’s condition. Determined to be married, Molly follows his trail. Miguel Gomes (born 1972) is a Portuguese film director. He studied cinema at Lisbon Theatre and Film School. Tabu was a winner of the Alfred Bauer Prize for Artistic Innovation and the FIPRESCI Jury Prize at the 2012 Berlin International Film Festival, as well as the Grand Prix at Film Fest Gent.

GRAND TOUR

OUT OF COMPETITION

Horizon: An American Saga is an upcoming two-part American epic Western film cowritten with Jon Baird, and produced by, directed by and starring Kevin Costner.

Set in the American Civil War period depicting the expansion of the American west.

Described as a two-part event, the film is scheduled to premiere at the 77th Cannes Film Festival on May 19, 2024, with Chapters 1 and 2 scheduled to be theatrically released in the United States on June 28, 2024 and August 16, 2024, respectively, by Warner Bros. Pictures.

CANNES WATCH PICKLE PICKS FROM THE 77TH CANNES FILM FESTIVAL FILMS

MOTEL DESTINO Karim AÏNOUZ

HORIZON: AN AMERICAN SAGA Kevin COSTNER

Miguel GOMES

CANNES AND INDIA LOVE IN SEPARATION

By PIERRE ASSOULINE

What a relief to find an Indian film among the nominees for the Palme d’Or at Cannes 2024. The last time an Indian film got this far was 30 years ago with Swaham, directed by Shaji N. Karun and released in Europe by the undersigned. Back in Cannes 1994, I had the privilege of meeting Shaji and entrusting him years later with the direction of Vanaprastham, my own story and production. After an incredible 30-year wait, Indian cinema is now back at Cannes Competition with All We Imagine as Light, by the independent woman director Payal Kapadia.

“Why has there been such apparent scant regard for so long for Indian cinema at Cannes?” some might ask. Frankly, I think it only fitting that the Indian film industry questions the reasons for its long absence from the Competition at Cannes. “Let’s take a hard look at what Indian cinema has had to offer to the selection during the intervening years.” might be the right answer.

The Bollywood, Tollywood, Kollywood, Mollywood mainstream players, producers as well as regular or occasional film financiers, interested in International recognition and in

IT IS TIME FOR INDIAN-CRAFTED FILMS TO SHOW THE WORLD

THE BEAUTY OF INDIA’S CULTURE. THOSE FILMS WILL CROSSOVER AND MAKE INDIA’S MOST CONFIDENTIAL IP RESONATE IN INTERNATIONAL FESTIVALS AND MARKETS.

Cannes’ Gold, need to realise that the cinema which they understand and master so well locally will never be a Cannes Competition pick. Instead of suggesting that Cannes executives must have some resentment against India, they would benefit from considering script & director-driven projects, taking a break from the “star system” and the “copy/remake” syndrome where filmmaking chews the already chewed under the dictate of brand-endorsing addicts.

Should the mainstream film industry persist in the illusion that it has gone global with statements like “opening worldwide”? Or should it rather start accepting that even when visually boosted with AI, fresh technical skills and state-ofthe-art facilities, its cinema as it is still produced today can solely reach Indian audiences whether domestic or diaspora? Ironically, by recently acknowledging that growth in overseas revenues will only depend on opening-up culturally similar markets, such as China and the Middle East, Indian mainstream players are finally somehow accepting that their productions will continue to fail to attract nondiaspora Western audiences and therefore any Cannes Competition selection.

Unfortunately, the industry’s production loudest voices are not properly deciphering the preferences of audiences. They are rejoicing that in 2023, domestic theatrical revenues exceeded pre-pandemic levels, forgetting to credit that rise to a significant increase in ticket prices. Admissions are down over 5% compared to 2022, with less than 100 million cinema-goers in a country of 1.4 billion people. The Hindi language industry released 218 films in 2023 for an overall gross BO of INR 54 billion.

Swaham by Shaji Karun, Indian Competition film at the Cannes Film Festival 1994. The film was released and marketed in Europe by Pierre Assouline

A still from Payal Kapadia’s All we imagine as light. After 30 years, Indian cinema is finally breaking through the glass ceiling making it to the 2024 Cannes Competition

The new generation filmmakers should not let the trendy “mythologicals” be monopolised by those opportunistic mainstream filmmakers who, bereft of spiritual awareness, mistreat Bharat stories imposing on them the sole “Bahubali” or “RRR”

Manichean cinematic modus operandi

SHOULD THE MAINSTREAM INDUSTRY PERSIST IN THE ILLUSION THAT IT HAS GONE GLOBAL WITH STATEMENTS LIKE “OPENING WORLDWIDE”?

EXHIBITORS MAY REJOICE OVER THE 2023 THEATRICAL FIGURES, BUT INDEPENDENT PRODUCERS AND ADVOCATES OF DIVERSITY IN CINEMA, CERTAINLY NOT.

UNFORTUNATELY, THE INDUSTRY’S PRODUCTION LOUDEST VOICES ARE NOT PROPERLY DECIPHERING THE PREFERENCES OF AUDIENCES.

Out of those 218 films, a mere 7 have collected INR 35.2 billion. Which means that collectively 211 Hindi films have grossed only INR 18.8 billion! Is Tamil cinema better off? 271 releases grossed INR 20 billion. Out of those 271 films, a mere 2 have grossed INR 8 billion, which means that 269 Tamil films have collectively grossed only INR 12 billion! Exhibitors may rejoice, but independent producers and advocates of diversity in cinema, certainly not!

What remedy have EY experts recommended at the last FICCI Frames? “Increase significantly the average number of VFX shots per film to enhance the movie-going experience.” No doubt, here are people who have deeply understood the art of Cinema! How many VFX-packed movies have bombed at the box-office in India and elsewhere? This purely technical, financial approach might suit toothpaste and dish-washingliquid, but not Art, any art, please! Can you imagine those “experts” advising Raja Ravi Varma or Amrita Sher-Gil?

“Our survey shows that for a majority of people your East and West blend is not today’s trend, choose your side!” Is their cinema sector health analysis not biased, ignoring what it takes for cinematic language to be universal and touch the hearts of audiences?

It is time for Indian-crafted films to show the world the beauty of India’s culture rather than follow Western films down the same old beaten track of portraying an “Indian genre” associated only with misery, social conflict and violence as their main topics. Sadly, those of the new generation filmmakers who are more apt in the handling of a universal cinema language, have been Westernized to think that shabby hardship is the only theme that will take them to international festivals. As films continue to impact and shape our culture, these new generation filmmakers should not let the trendy “mythologicals” be monopolised by those opportunistic mainstream filmmakers who, bereft of spiritual awareness, mistreat Bharat stories imposing on them the sole “Bahubali” or “RRR” Manichean cinematic modus operandi. Those Indian Heritage stories are not mythology, but History. As such, they deserve the exciting “based on a true story” teaser.

Take up the challenge, insightful young filmmakers, and envision a refreshing creative universal cinematic approach, whether minimalistic or flamboyant, but attentive not to deprive those stories of their original potency. Those films will crossover and make India’s most confidential IP resonate in international festivals and markets.

A producer in France and India with Selections and Awards including Competition in Venice, Competition and Jury Award in Locarno, Competition in Toronto, Official Selection in Cannes, National Award in India, Pierre Assouline currently works at establishing “The Uplifting Cinema Project”, a production slate of universal and uplifting films conveying India’s beauty to the world.

Pierre Assouline in Cannes: WhatsApp +33613215900 pierre@theupliftingcinemaproject.com

Shaji N. Karun

Film Maker

SHAJI N. KARUN

On Cannes Creativity & Cultural Continuum

Navigate Cannes’ Legacy, Technological Resurgence, and Cinematic Vision with Shaji N. Karun, the filmmaker from Kerala, who made a strong impression in Cannes with his films like Piravi (1989) and Swaham, which competed for the Palme d’Or in 1994.

By Vivek Ratnakar

In an exclusive interview with Shaji N. Karun, the acclaimed filmmaker reflects on the cultural significance of Cannes, creativity, and the evolving landscape of Indian cinema. Delving into his thoughts on the three-decade hiatus since his film “Swaham” competed at Cannes, Karun shares a mix of pride and contemplation. As the head of Kerala State Film Development Corporation (KSFDC), he provides insights into the changing face of filmmaking and the studio being constructed by KSFDC. Karun also discusses the resurgence of shooting on film, technological advancements in filmmaking, and the role of cinema in exploring themes of culture, spirituality, and nationalism. Finally, he shares his vision for the future of Indian cinema, emphasizing diversity, innovation, and global influence.

REFLECTING ON THE THREE-DECADE GAP SINCE YOUR FILM, ‘SWAHAM,’ COMPETED AT CANNES, WHAT THOUGHTS AND EMOTIONS COME TO MIND GIVEN THAT THIS YEAR WE HAVE AN INDIAN FILM IN COMPETITION AT CANNES?

Contemplating this, I’m filled with a blend of emotions, ranging from pride to introspection. There’s certainly a sense of pride in having contributed to the earlier films that graced the Cannes stage. However, the realization that it took three decades for India to reclaim a spot in the competition is sobering. It underscores the hurdles Indian cinema faces on the global platform. These past thirty years

serve as a poignant reminder of the opportunities India missed to showcase its rich cinematic heritage and culture on the world stage, especially in comparison to the strides made by countries like China and Korea.

WHAT

SIGNIFICANCE DOES THE CANNES FILM FESTIVAL HOLD FOR YOU, ESPECIALLY CONSIDERING YOUR NOTABLE PRESENCE WITH FILMS LIKE “SWAHAM,” “PIRAVI,” AND “VANAPRASTAM,” AND YOUR CINEMATOGRAPHY WORK ON “THAMPU”? HOW DO YOU PERCEIVE THE FESTIVAL’S IMPACT ON THE WORLD OF CINEMA THROUGHOUT THE YEARS?

Cannes is a cornerstone of the global film industry, offering filmmakers a profound platform for more than just presenting their works. It stands as a beacon of artistic expression and cultural interchange, where cinematic boundaries are continually redefined. Throughout its history, Cannes has been instrumental in unearthing fresh talent, facilitating cross-cultural collaborations, and propelling the evolution of cinematic craftsmanship to new heights. In essence, Cannes

embodies a dynamic nexus where creativity flourishes, ideas converge, and the language of cinema transcends borders.

WHAT

MAKES THE CANNES FILM FESTIVAL

SIGNIFICANT

FOR FILMMAKERS? DO WE DWELL MORE ON THE THREE DECADES WITHOUT A FILM IN COMPETITION, OR DO WE ENVISION BRIGHTER PROSPECTS WITH MORE FILMS PARTICIPATING IN THE WORLD’S LARGEST FILM FESTIVAL?

Cannes serves as a prestigious platform where filmmakers from around the world can present their work to a global audience, fostering cultural exchange and artistic dialogue. While the lack of Indian representation at Cannes over the past three decades is disappointing, it’s essential to shift our focus towards future opportunities. This moment calls for introspection and collective action to elevate Indian cinema on the international stage. We should aspire to transform platforms like the India International Film Festival in Goa into truly global events that showcase the diverse cinematic voices of Asia and beyond. Additionally, we must move

Swahm, Cannes Competition: At the Red Carpet with Bruno Yaggi (Triggon Distributor) Malati Sahai Director DFF, in middle Shaji N Karun

beyond viewing such events solely as tourism opportunities and instead cultivate a deeper appreciation for cinema as a powerful medium of artistic expression and cultural exchange. This requires nurturing a community of individuals who are passionate about cinema not just as entertainment but as a philosophy that reflects the human experience and shapes societal values.

AS THE HEAD OF THE KERALA STATE FILM DEVELOPMENT CORPORATION (KSFDC), WHAT ARE YOUR KEY INSIGHTS INTO THE EVOLVING FILMMAKING ECOSYSTEM AND THE SHIFTING LANDSCAPE OF INDIAN CINEMA? ADDITIONALLY, COULD YOU ELABORATE ON THE STUDIO BEING CONSTRUCTED BY KSFDC?

At KSFDC, our mission is to cultivate talent, celebrate diversity, and champion creativity in filmmaking. Our upcoming studio represents a significant investment in Kerala’s filmmaking infrastructure, providing cutting-edge facilities to support filmmakers at every stage of production. Situated near an

international airport in Kochi, this Rs 100-crore facility will operate under a PPP model, ensuring sustainability and accessibility. Equipped with state-ofthe-art technology, including advanced editing suites, Dolby Atmos recording capabilities, VFX studios, and VR facilities, the studio will serve as a hub for innovation and collaboration. Moreover, with the addition of a technician-friendly hotel and initiatives like our OTT platform, we aim to democratize access to filmmaking resources and amplify the voices of independent storytellers across the region.

WITH A SIGNIFICANT SHIFT OCCURRING IN THE FILM INDUSTRY, INCLUDING A RESURGENCE IN SHOOTING ON FILM, HOW DO YOU, AS A FILMMAKER WHO STARTED AS A CINEMATOGRAPHER, PERCEIVE THE RETURN OF FILM IN THE DIGITAL AGE? ARE YOU A BELIEVER IN THIS RESURGENCE? IT’S NOTABLE THAT KODAK IS NOW MANUFACTURING FILM AROUND THE CLOCK. WHAT ARE YOUR THOUGHTS ON THIS TREND?

As someone who values both the tradition and innovation in filmmaking, I see the resurgence of film as a testament to its enduring appeal. While digital technology offers convenience and flexibility, film has a timeless quality that adds depth and texture to visual storytelling. The availability of film stock from Kodak signifies a renewed interest in the craft of filmmaking and the desire to preserve its rich heritage.

THE

PROLIFERATION OF TECHNOLOGY IN TODAY’S FILMMAKING LANDSCAPE IS UNDENIABLE. HOW DO YOU PERCEIVE THIS EVOLUTION?

Technological advancements have revolutionized the filmmaking process, offering new tools and techniques for creative expression. However, it’s essential to strike a balance between innovation and artistic integrity. Ultimately, technology should serve the storytelling, enhancing the audience’s experience without overshadowing the narrative itself.

IN THE CURRENT CINEMATIC LANDSCAPE, THE CONCEPTS OF CULTURE, SPIRITUALITY, AND NATIONALISM HOLD MULTIFACETED MEANINGS. HOW DO YOU INTERPRET THESE THEMES THROUGH THE LENS OF CONTEMPORARY CINEMA?

Cinema serves as a mirror to society, reflecting its values, beliefs, and ideologies. Through storytelling, filmmakers have the power to influence and shape societal norms by presenting narratives that challenge perspectives, evoke empathy, and inspire change.

Just as religious spirituality seeks to connect individuals with something greater than themselves, cinema too has a spiritual dimension. It taps into universal human experiences, emotions, and existential questions, offering audiences a transcendent journey beyond the physical realm. This spiritual essence of cinema often explores themes of morality, purpose, and existentialism.

Cinema is deeply rooted in culture and nationalism, as it reflects the collective identity, history, and aspirations of a society or nation. Filmmakers often use cultural motifs, symbols, and traditions to convey stories that resonate with audiences on a profound level. Additionally, cinema plays a pivotal role in shaping national narratives, fostering patriotism, and preserving cultural heritage.

By exploring themes of culture, spirituality, and nationalism, filmmakers provoke introspection and stimulate dialogue on pressing social issues. Through thoughtprovoking narratives, cinema challenges prevailing norms, addresses societal inequalities, and advocates for social justice, ultimately fostering empathy, understanding, and solidarity among diverse communities.

Cinema celebrates the rich tapestry of human experiences, cultural traditions, and ethnicities, showcasing the diversity of our world. By portraying authentic representations of different cultures and identities, cinema promotes cross-cultural understanding and appreciation. Furthermore, cinema serves as a vehicle for preserving cultural heritage, immortalizing stories, rituals, and folklore for future generations.

Through the lens of cinema, we can envision a world characterized by inclusivity, empathy, and compassion. By amplifying marginalized voices, advocating for social change, and fostering empathy, cinema inspires audiences to strive for a more equitable and compassionate society.

FROM

YOUR

PERSPECTIVE,

WHAT DO YOU BELIEVE INDIAN CINEMA CAN ASPIRE TO ACHIEVE IN THE CINEMAS

OF TOMORROW?

Indian cinema has a rich tapestry of stories waiting to be told. As we embrace new technologies and platforms, we must continue to champion diverse voices and perspectives. By nurturing talent, fostering collaboration, and pushing the boundaries of creativity, Indian cinema can aspire to become a global cultural force, enriching the lives of audiences worldwide.

CANNES

IS A

CORNERSTONE

OF

THE GLOBAL FILM INDUSTRY, OFFERING FILMMAKERS A PROFOUND PLATFORM FOR MORE

THAN JUST PRESENTING THEIR

WORKS.

IT STANDS AS A BEACON OF ARTISTIC EXPRESSION AND CULTURAL INTERCHANGE, WHERE CINEMATIC BOUNDARIES ARE CONTINUALLY REDEFINED. THROUGHOUT ITS

HISTORY, CANNES HAS BEEN INSTRUMENTAL IN UNEARTHING FRESH TALENT, FACILITATING CROSS-CULTURAL COLLABORATIONS, AND PROPELLING THE EVOLUTION OF CINEMATIC CRAFTSMANSHIP TO NEW HEIGHTS.

Santosh Sivan

Cinematographer

SANTOSH SIVAN LIGHTING UP CANNES

StepintothemesmerizingworldofSantoshSivan, whereeachframeisasymphonyoflightandemotion. FromhishistoricfeatasthefirstIndiantoreceivethe prestigiousPierreAngénieuxtributeatCannestohis pioneeringworkinIndiancinema,Sivan’sjourney isatestamenttothetransformativepowerofvisual storytelling.Explorethelife,work,andartisticvisionof thiscinematicluminary

Renowned cinematographer Santosh Sivan has made history as the first Indian to receive the prestigious Pierre Angénieux tribute at Cannes. Established in 2013, this award, named after the pioneering figure in modern zoom lenses, recognizes outstanding achievements in cinematography. Sivan will be bestowed with this honor on May 24, during the penultimate day of the 77th edition of the festival. Preceding the award ceremony, Cannes will host a masterclass with the cinematographer on May 23. This accolade places Sivan among an esteemed group of past recipients, including luminaries such as Edward Lachman, Agnes Godard, Barry Ackroyd, and Roger Deakins. In this article, we embark on an exploration of the life, work, and artistic sensibilities of this visionary cinematographer. Santosh Sivan is a master storyteller whose creative journey is deeply intertwined with his personal experiences and surroundings. Having a deep emotional connection to his roots and a tendency to draw from personal nostalgia in his work, he actively seeks out stories and experiences from various sources with an approach that is both curious and open to the world around him. He has a thoughtful approach to his craft, where he carefully considers and revises his narratives over time. Through his artistry, Sivan not only

captures the essence of his experiences but also invites audiences to embark on a journey through his vivid imagination and profound reflections.

Early Life and Education:

Sivan’s journey into the realm of cinematography formally began when he pursued his education at the prestigious Film and Television Institute of India (FTII) in Pune. Here, under the tutelage of industry experts, he not only refined his technical skills but also further developed his innate artistic sensibilities. As the son of a renowned photographer and film producer, Sivan’s passion for the visual arts was not only nurtured but also inspired by his familial influences. This educational background, coupled with his familial ties to the industry, set the stage for his groundbreaking entry into Indian cinema. Bursting onto the scene in 1992 with the critically acclaimed film “Roja,” directed by Mani Ratnam, Sivan’s collaboration with the acclaimed filmmaker marked the beginning of a celebrated partnership. Their association had its roots even earlier, with their work together on “Thalapathy” (1991), which followed Ratnam’s admiration for Sivan’s cinematography in “Raakh”

(1988), a gangster film directed by Aditya Bhattacharya, starring an emerging talent named Aamir Khan. Each of these films bore Sivan’s signature visual style, showcasing his versatility and innovative approach to cinematography.

Breakthrough in Indian Cinema:

Sivan made his mark in Indian cinema with his exceptional work on films like “Thalapathi” (1991), directed by Mani Ratnam. His collaboration with Ratnam continued with iconic films such as “Roja” (1992) and “Dil Se..”(1998), where Sivan’s cinematography played a pivotal role in conveying the emotional depth of the narratives. His ability to capture the scenic beauty of the Indian landscape while infusing it with thematic resonance earned him widespread acclaim. Sivan’s work challenges the notion that commercial cinema lacks depth, asserting that it provides ample opportunity for creative exploration and innovation. For him, every project, regardless of its genre or budget, offers a chance to redefine cinematic conventions and captivate audiences in new and unexpected ways

Exploration of Aesthetic Frontiers:

Beyond the confines of mainstream Indian cinema, Santhosh Sivan’s artistic pursuits led him to explore diverse genres and visual styles. His collaboration with acclaimed filmmaker Shaji N. Karun resulted in visually arresting films like “Swaham” (1994) and “Vanaprastham” (1999), which showcased Sivan’s versatility and willingness to experiment with form and content.Santosh Sivan’s early immersion in documentary filmmaking laid a solid foundation for his keen observational skills. His directorial debut, “The Terrorist” (1998), was both minimalistic and emotionally evocative.

International Recognition and Collaborations:

Sivan’s talent transcended geographical boundaries, garnering attention on the global stage. His work on the critically acclaimed film “The Terrorist” (1998), directed by Santosh Sivan himself, received accolades at international film festivals for its arresting visuals and nuanced storytelling. Its visual brilliance caught the attention of renowned cinematographer Michael Chapman, who introduced Sivan’s work to the

American Society of Cinematographers (ASC). In 2012, Sivan became the first ASC member from the Asia-Pacific region, a testament to his unique cinematic vision. He continued to collaborate with filmmakers from around the world, including renowned directors like Mani Ratnam, GurinderChadha, and Deepa Mehta, leaving an indelible imprint on each project. Despite international acclaim and opportunities, Sivan remains firmly rooted in Indian cinema, prioritizing his home and heritage over career advancements abroad. He cherishes nostalgia, believing it to be a common trait among filmmakers and artists who draw inspiration from the past.

Innovative Use of Technology:

As a cinematographer committed to pushing the boundaries of visual storytelling, Sivan embraced technological advancements in filmmaking.Whether experimenting with digital cinematography or harnessing the power of drones for aerial shots, he continually sought out new tools and techniques to enhance the cinematic experience. However, Sivan also believes that true artistry lies in the thoughtful expression of ideas rather than mere technical proficiency.

The arrival of Generation AI prompts resource reallocation challenges, driving questions about time management and talent engagement. Yet, specialists can leverage AI to expand value and efficiency, ushering in a new era of productivity says Dr S. Raghunath, Professor of Strategy, Indian Institute of Management Bangalore

The entertainment industry is on the razor’s edge. Literally and figuratively. As AI shaves off a whole lot of repetitive, laborious and time consuming work it also challenges the contribution of human talent specialising in various disciplines of the value chain.

There are contradictory and interdependent tensions born out of deployment of AI These pertain to evaluating and producing novel creative content. Triggering tremendous frustration in changing and re orienting the application of human talent, time and effort in the traditional specializations involved in producing entertainment content.

We know that aircrafts had Fly-bywire(FBW) control systems in 1972 yet the pilots did not disappear. They just went through the process of re-training to develop a different set of competencies. Similarly, the specialists in the entertainment industry are bracing up for a rejig in their roles and contributions.

The industry is experimenting with AI for enhancing agility and savings of every kind. However the specialists in the value chain are facing several dilemmas. One relates to the nature and extent of one’s own creative contributions on the one hand while promoting efficiency on the other, using algorithm based decision making while grappling with traditional ways of deciding, introducing flexibility while trying to exercise control.

In the past, movie producers and directors reached dizzying heights of acclaim supervising others who helped them produce top quality content while meeting efficiency and cost targets. As they reckon with the emerging reality of AI entering into the creative space of human endeavour, they have an opportunity to boldly innovate while addressing the operational needs of the industry.

AI powered algorithms are engaging in script writing, casting, editing,

ENSURING FAIRNESS IN AI DEVELOPMENT

• The use of copyrighted material to train generative AI models without compensating creators has sparked significant concern, raising both legal and ethical issues.

• Artists and content creators’ rights are at stake, as their work is utilized without proper compensation, exemplified by OpenAI’s Sora video generator producing photorealistic content without acknowledgment or payment.

• The debate revolves around whether AI companies’ utilization of copyrighted material falls within the bounds of fair use, particularly scrutinized within the legal frameworks of the governments.

• Proposed legislation, such as the Generative AI Copyright Disclosure Act, seeks to address these concerns by mandating transparency and fair compensation for the use of copyrighted works in AI training.

• Anticipated legal battles may prioritize safeguarding artists’ interests over those of Big Tech, signaling a potential shift in judicial focus towards creator rights.

• Ethical sourcing of data for AI training emerges as a crucial consideration, emphasizing the pressing need for transparency in the development processes of AI technologies.

• Critics highlight that the mere availability of content does not justify its unrestricted use, emphasizing the moral and legal imperative for AI companies like OpenAI to disclose their data sources.

• While calls to ban generative AI development are absent, there’s a resounding demand for AI companies to prioritize honesty, trustworthiness, and fairness in their operations.

WE KNOW THAT AIRCRAFTS HAD FLY-BY-WIRE(FBW) CONTROL SYSTEMS IN 1972 YET THE PILOTS DID NOT DISAPPEAR. THEY JUST WENT THROUGH THE PROCESS OF RE-TRAINING TO DEVELOP A DIFFERENT SET OF COMPETENCIES. SIMILARLY, THE SPECIALISTS IN THE ENTERTAINMENT INDUSTRY ARE BRACING UP FOR A REJIG IN THEIR ROLES AND CONTRIBUTIONS

post production tasks and sound design. For instance, AI tools are making the painstaking process of editing smoother by correcting colour, lighting, suggesting cuts and transitions, while the human editor has the privilege of taking his or her final call. Machine learning helps the sound designers to analyse scenes and suggest matching sound effects and save many hours of labour in the process.

Specialists in the entertainment industry value chain have gained reputation on the prior work and record which have motivated them to deepen their expertise. The discomfort with AI is primarily stemming from the mastery of their current skills and routines, finding unlearning and relearning quite challenging. The more the threat of change is experienced in the industry there is a tendency to tighten the grip on existing approaches seeking to gain control on what is tending to become uncontrollable.

Specialists contributing their talent in their department and functions in the entertainment business have an opportunity to develop and use a bifocal lens of great reputation for bold innovation as well as delivering world class quality while maintaining financial control.

AI also has infinite possibilities for famous and busy actors. The immense possibilities of

virtualization are exhilarating. Exhilarating as the actors can create digital twins and develop their digital persona for action scenes and incredibly risky scenes. And adapt to the changes of where to focus attention and re-allocate time? How to rethink the role and responsibilities of support teams? Actors in demand are trying to navigate between commitments both ongoing and new and emerging innovations in utilizing their physical presence and contributions to specific scenes in the movies.

The challenge in the advent of Gen AI involves re allocation of resources. Time, space and money drive most of the dilemmas. Alternate demands compete for resources. Challenges between multiple projects and commitments boil down to questions on how one spends time. Issues about what kind of talent we should engage emerge because there is a limited budget to spend and choices have to be made. Gen AI can be used to explore multiple and varied ways to expand value, knowing that such explorations will create new opportunities.

There is also some worry about what we receive as compensation will be split with technology advancements now morphing into Gen AI. This is a fixed pie mindset. In contrast if we consider growing the pie before splitting the pie, we have a different scenario.

Specialists can begin to think about what parts of what they do they will gladly dispense with a set of algorithms that will do the job. Specialists can become stretch experts. People who know how to do more with less effort. These developments in AI have minimised the time and expense involved in logistics and crew deployment. AI tools catering to entertainment production and post-production uses have grown as they were developed by unicorns such as Runway, Wonder Dynamics and Metaphysic. They are developing tools that cater to needs and support real workflows in media and entertainment and for creative talent throughout the entertainment content production value chain.

The skill of extracting useful results from Gen AI depends upon “Prompt Engineering”. Prompt engineers can induce Gen AI to respond precisely to a complex task. Data wrangling is another process that requires transforming raw data into a format that is easier to access and analyse. Data wranglers can clean data, remediate data and scrub data to prepare for analytics and make it useful for machine learning.

These are interesting times as the entertainment industry accepts the uncertainty, reckons with the ambiguity and finds a way to move forward. The industry may not quickly resolve all issues but it will navigate, engage and leverage AI tools.

Come visit the Bharat Pavilion and experience the power of Indian Cinema .

V aranasi, Uttar Pradesh

15-21 May 2024

VENUES:

Main Stage (Riviera)

Palais Stage (Palais -1)

Plage des Palmes (Goéland Beach, La Croisette)