Category: Hindi

  • Seven in ten urban Indians claim their frequency of going to the cinema has decreased: YouGuv

    Seven in ten urban Indians claim their frequency of going to the cinema has decreased: YouGuv

    Mumbai: New YouGov data reveals where people are watching new films and how the shift to streaming platforms may affect cinema attendance in a post-covid world.

    When asked about the change in their cinema viewing habits since the pandemic, nearly seven in ten urban Indians (69 per cent) agreed with the statement, “My frequency of going to the cinema/theatre has decreased.”

    According to data, 44 per cent of people stop visiting the cinema hall because of  streaming films online, followed by 42 per cent of people’s preference to watch films at home. Nearly a third think going to a cinema is expensive or feel there aren’t any films worth going to the cinema are 32 per cent each. North Indians were more likely to say they do not go to cinemas because of the flexibility of streaming films online. Similarly, the 40+ group prefers to watch films at home.

    When asked about the medium they have used most often to watch newly released films in the past six months, OTT platforms emerged as the most popular choice for nearly half of urban Indians. A fifth (22 per cent) said they watched new movies on TV and only 16 per cent went to the cinema or theatre to watch films during this period.

    Looking at the data by age, 57 per cent between age group of 18-29 years were most likely to watch new films on OTT/streaming platforms in the past six months, while 40+ adults than others were more likely to watch them on TV (26 per cent) or in theatres (19 per cent). Notably, residents in South India were more likely to say they watched newly released films in theatres as compared to residents of other regions (22 per cent).

    Even though OTT has gained precedence, not all hope is lost for theatres. YouGov data shows a quarter of urban Indians (26 per cent) said their frequency of visiting theatres has increased since the pandemic, with young adults between 18 and 29 years old echoing this sentiment most strongly.

    An overview of people’s cinema viewing habits shows one in six urban Indians (15 per cent) said they go to a theatre to watch a film at least once a week, while eight per cent do so once a fortnight. Just under a quarter visit a theatre at least once a month (23 per cent), and nearly half visit it once every two-three months or longer than that. This behaviour is similar across all age groups.

    Past behaviour shows cinema outings in the last 12 months have mostly been with friends or family. At 61 per cent, Bollywood films emerged as the most popular kind of cinema among people, followed by Hollywood or regional South Indian films at 45 per cent each.

    When it comes to film genres, urban Indians prefer comedy (67 per cent), followed by action (54 per cent), and thrillers (51 per cent). Specifically, thinking about how they like to watch these genres, a majority (55 per cent) said they enjoy watching comedy films on OTT or streaming platforms. 19 per cent prefer watching them in a theatre, and 26 per cent prefer both the options. The higher preference for OTT platforms is uniform across genres, except for action films, where people were more likely to say they liked watching these films in theatres than on OTT platforms.

    Commenting on the research, YouGov India GM Deepa Bhatia said, “After two years of the pandemic, theatres in India finally opened to full capacity this year. However, the rising popularity of streaming platforms remains a challenge, discouraging people to step out of their homes.”

    “While cost and home viewing habits keep many people away from the movies, it should be remembered that people go to the cinema to enjoy the experience. It is important for brands to understand the changing cinema habits and behaviours of urban Indians to re-imagine their marketing strategies and prepare themselves for this ever evolving relationship between films and consumers,” added Bhatia.

    Data was collected online among 1,004 urban Indian respondents in September 2022 by YouGov’s Omnibus using its panel of over 20 million people worldwide.

  • “Follow your gut’, says Siddharth Roy Kapur as he shares his success mantra at IIFTC

    “Follow your gut’, says Siddharth Roy Kapur as he shares his success mantra at IIFTC

    Mumbai: In a fireside chat at the India International Film Tourism Conclave 2022, producer Siddharth Roy Kapur gave out his success mantra to a discerning audience consisting of 20 countries who had come to pitch their locations to Indian filmmakers—’Follow your gut.’

    In a discussion with the South Swedish Film Commission head & European Film Commission Network co-president Mikael Svensson, Roy Kapur Films founder, MD Siddharth Roy Kapur said that he had always been in love with the story before he decided to produce it. Commenting on the occasion, he said, “When we decided to produce Rang De Basanti in 2005, many people warned us that the film may not work well, as in the ending, the cast dies, but we followed our gut. The success of the film paved the way for many more such projects and newcomers in the industry. Ronnie Screwvala backed talent whose stories we loved, irrespective of what the market or trade pundits might think.”

    Answering a question by Mikael Svensson on his personal favourite film as a producer, Kapur answered, “The Last Film Show,” without batting an eyelid. Continuing the conversation, he said, “The Last Film Show is one of my favourite films as it makes the viewers fall in love with cinemas. An Indian Oscar is long overdue and all of us are keeping our fingers crossed. We Indians have a special grammar in our films, unlike others, namely the song and dance sequences. Many people might not like them, but I strongly feel that they should survive. Our country has space for both international cinema, regional cinema, and Hindi language cinema—due to the large audience size and the large Indian diaspora spread globally, whenever we start a film, it is primarily the Indian audience that we keep in mind.”

    Commenting on the South Indian Film Industry, Kapur said, “The South Indian cinema is having its renaissance moment. The audiences have started accepting and appreciating such films.” On what goes behind choosing a shooting location for the film, the 48-year-old filmmaker said, “We as filmmakers, want to be true to the script and hence prefer to shoot at the actual locations as in the script. However, budget sometimes plays a role, and if we get something that may not look like a force fit but still be in our budget, then we select that location.”

    Svensson also told the audience a lesser-known fact about the ex-president of the Producers Guild of India. He used to love acting in school and college and was the head of his college dramatics society. Kapur laughingly said, “Producers are acting all the time. I enjoyed acting in school and college, but being an actor professionally is different. I realised the differences early on and became a producer, as I believed it suited me more as a person.”

    The evening was the second day of the three-day film tourism event, featuring over 50 international companies from over 20 countries coming to Bollywood, Mumbai to woo Indian filmmakers. The event saw participation from countries including Azerbaijan, Abu Dhabi, Krakow, Kazakhstan, Montenegro, Norway, Oman, Panama, Poland, Sri Lanka, Sweden, and Yas Island, to name a few.

  • CCI recommends self-regulatory measures for the Indian film industry

    CCI recommends self-regulatory measures for the Indian film industry

    Mumbai: On Friday, the Competition Commission of India (CCI) released a report titled “Market Study on Film Distribution Chain in India: Key Findings and Observations,” which outlines a few of the most important competition-related problems identified by stakeholders in the industry.

    In doing so, the study discusses the role of various associations in the chain, whether it be at the production, distribution, or exhibition level; the imbalances caused by some entities’ stronger bargaining positions; the bottlenecks that exist at different levels; the unequal distribution of risks; revenue-sharing agreements; newer technologies in cinema; tying and bundling arrangements at the exhibition level; etc.

    The CCI appreciated the insights shared by various stakeholders into the various aspects of the film production, distribution and exhibition. The commission also expressed its sincere desire that, in the interests of everyone, the constituents will put an end to anti competitive behaviours, thus limiting regulatory interference.

    The commission has advised the film industry to develop specific self-regulatory measures for various stakeholder categories based on the study’s results and in accordance with its advocacy role. Self-regulation techniques include:

    Customised agreement for multiplexes and producers

    • Customised agreements should be chosen over generic contract templates.
    • Aggregate agreements may be favoured for revenue-sharing over current sliding scale agreements, which allow multiplexes and producers to split the total income made by a movie according to a previously agreed-upon percentage.
    • In exchange for promotions and a split in the cost of advertising, multiplexes might be willing to give producers fair and reasonable terms.
    • Multiplexes should steer clear of any trade limitations on display that would limit producers’ freedom of commerce.

    Reporting of box office revenue collections

    • Adoption of ticketing log and report generation, recording, and maintenance box office monitoring systems, and the information gathered by such a system should not be changeable by any stakeholder.
    • Producers should choose impartial auditors to examine these monitoring systems and confirm that they are functioning as intended and are not undergoing any tampering.

    Virtual Print Fee (VPF)

    • VPF payments made to multiplexes can be eliminated first. Given their reliance on the leasing arrangement for digital cinema equipment, single-screen VPF can be phased out more gradually than multi-screen.
    • Digital cinema equipment (DCE) providers and producers should negotiate mutually acceptable VPF prices and ensure that there are no disruptions in the display of films due to this until its sunset is decided upon and put into effect.

    Stakeholders association

    • Associations shall refrain from boycotts, prohibitions, and restrictions on business dealings with non-members. Associations should also refrain from any other actions that the commission has previously deemed to be anti-competitive.
    • In order to resolve any disputes between stakeholders, associations must take into account how alternative conflict resolution procedures like mediation might be institutionalised.
    • Associations are recommended to hold activities to inform their individual members of competition law knowledge and the ensuing necessity for compliance.

    Digital cinema

    • Digital service providers should allow for negotiations to lessen the imbalance of bargaining power in any agreements they make with exhibitors or producers, as the case may be. Long-term contracts with unfair clauses should also be avoided.
  • Inox brings T20 Men’s World Cup 2022 in cinemas; inks deal with ICC

    Inox brings T20 Men’s World Cup 2022 in cinemas; inks deal with ICC

    Mumbai: Inox Leisure on Wednesday announced signing an agreement with the International Cricket Council (ICC) for live screening of ICC Men’s T20 World Cup 2022 matches on the cinema screens at its multiplexes across the country.

    The eighth edition of the ICC Men’s T20 World Cup commences on 16 October, with the super 12 stage kicking off on 22 October, and the final scheduled for 13 November in Melbourne.

    Inox will showcase all group matches to be played by Team India, starting with their first match on 23 October against Pakistan, followed by the semi-finals and the final match. The live matches will be screened across Inox multiplexes in more than 25 cities. Inox’s initiative of screening live matches will provide a supreme stadium-like experience in movie theatres. The comfort of the cinema hall in an air-conditioned environment will add to their overall cricket watching experience in the company of like-minded fans of the game of cricket. In addition, fans will be able to enjoy exciting food-combos and scrumptious gourmet options served at Inox cinemas while enjoying the matches.

    Commenting on the announcement, Inox Leisure chief operating officer Anand Vishal said, “By screening cricket in cinemas, we are bringing together the thrill of the giant screen experience and thunderous sound with the most loved sport in our country, and that is cricket. The excitement and emotions of the World Cup would add to this combination, resulting in a virtual treat for cricket lovers. We are grateful to the International Cricket Council for providing us with an opportunity yet again to offer an all-immersive cricket-viewing experience for the fans. We are prepared to welcome our guests and let them take their festive spirits to a new level with this cricket festival on the giant screen.”

  • IFFI invites media delegates to register for its 53rd edition

    IFFI invites media delegates to register for its 53rd edition

    Mumbai: The 53rd edition of the International Film Festival of India (IFFI), has invited media delegates to be a part of the festival. The festival, which will be held in Goa from 20 – 28 November will showcase contemporary and classic films from India and around the globe.

    At IFFI, the awaiting media delegates are filmmakers, actors, technicians, critics, academicians, not to mention fellow film enthusiasts. All of them will congregate in the tourist state of Goa to immerse themselves in an ocean of cinematic celebration and inspiration.

    IFFI said that it will celebrate the joy of cinema, the vibrant beauty of the stories these films tell, and the eclectic variety of the lives, aspirations, struggles and dreams of the filmmakers themselves. Partake in the celebration of films which happens in, on and off the screens. The festival will bring not only cinematic excellence from India and across the world, but also the opportunity to be inspired by an array of masterclasses, panel discussions, seminars and other conversations.

    Information and communication, IFFI added, has a central role in the success of the festival, in propagating film culture, in cultivating genuine love for the art, in helping people soak themselves in the breadth and depth of the human condition.

    One can be a media delegate if one has completed 21 years of age as on 1 January, 2022 and belongs to a print, electronic, or a digital / online media organisation. The link for registration is https://my.iffigoa.org/extranet/media/

  • IIFA Weekend & Awards: Abu Dhabi to host the 23rd edition of the event in Feb 2023

    IIFA Weekend & Awards: Abu Dhabi to host the 23rd edition of the event in Feb 2023

    Mumbai: The International Indian Film Academy (IIFA) Weekend And Awards, which brings together the best of the Indian film industry, will return to Yas Island, Abu Dhabi, in February 2023. IIFA 2023 will be held in collaboration with the department of culture and tourism in Abu Dhabi (DCT Abu Dhabi) and Miral, which creates immersive destinations and experiences.

    The 22nd edition of IIFA this year at Yas Island, Abu Dhabi, was hosted by Salman Khan, Riteish Deshmukh and Maniesh Paul. It had performances by talent from the Indian film fraternity. The three-day awards weekend was attended by more than 350 media from 17 countries across the globe, and more than 20,000 people thronged the arena.

    The 23rd edition of IIFA will again be hosted at the world-class Etihad Arena, Yas Island, Abu Dhabi—the Middle East’s largest state-of-the-art indoor entertainment venue in February 2023. The upcoming edition will see Salman Khan, Varun Dhawan, Karan Johar, Kriti Sanon, and many more in attendance.

    For many decades, India and Abu Dhabi have had strong cultural and commercial ties. IIFA Weekend & Awards will be a celebration of togetherness and positivity, returning to Yas Island in Abu Dhabi and enhancing, strengthening, and building even stronger bonds. IIFA 2023 will be a grand celebration of the best talent in Indian cinema, bringing together global dignitaries, international media, fans, and film enthusiasts worldwide. The aim is to also present a greater opportunity for long-term impact in tourism, trade, and the film production business for the destination.

    IIFA VP Noreen Khan said, “IIFA this year was an amazing experience thanks to the wonderful partners Miral and DCT. Coming back after two years, we really worked hard to deliver the very best of live entertainment again. The best part was that the entire weekend delivered a positive experience for everyone who witnessed or experienced the event in any way. We have been inundated with unprecedented appreciation and comments from everyone who truly has had a wonderful time this year in Abu Dhabi, and so we are pleased and excited to bring it all back again, but with much more magic to come next year.”

    DCT Abu Dhabi DG for Tourism HE Saleh Mohamed Al-Geziry said, “We are honoured to once more welcome the IIFA Weekend and Awards to the Etihad Arena. With the eyes of the world’s film industry upon us, we have an amazing opportunity to share with the world Abu Dhabi’s exciting nightlife, inspiring cultural experiences, and restorative escapes. The awards in February can only enhance our reputation as a global centre for top-tier leisure, entertainment, and business events.

    Miral executive director of group communications and destination marketing Taghrid Al Saeed said, “We were thrilled to see the immediate impact that IIFA presented to Yas Island, Abu Dhabi when we hosted the event last June, which created great engagement around the world. We are excited to be back hosting again this year and to be the first destination to consecutively hold the IIFA Weekend and Awards.  We are proud of this partnership, which is already delivering valuable business and tourism opportunities from India to the island.  The return of this great event is another testament to Yas Island’s position as a global entertainment and leisure destination as well as an international events hub.”

    People can now buy tickets to the awards ceremony spanning over three days at https://www.etihadarena.ae/en/ from 30 September 2022. The price range begins at 100 AED and goes up to 1,500 AED. People can now get an opportunity to buy tickets to the celebration of Indian Cinema at https://www.etihadarena.ae/en/box-office or head to www.yas island.ae where fans can add all that they need for their visit to Yas Island as a travel package.

  • Next phase of growth for the theatrical business will come from tier II, III, IV towns & cities: Industry

    Next phase of growth for the theatrical business will come from tier II, III, IV towns & cities: Industry

    MUMBAI: The next phase of growth for the theatrical business will come from tier III and IV towns and cities. Even in tier II there is a scope for growth. There people have high disposable income. Also, it does not take them much time to commute unlike in the metros. It is a question of providing the right ambience. The theatres have to be projected, presented in the right way. The learning from the success of ‘National Cinema Day’ is that ticket pricing needs to be dynamic. Meanwhile, linguistic barriers are demolished. So, a Nepali movie can do well in Chennai. The issue is not that footfalls have gone down. It is that taste which is shifting. Only, if a movie is good then will people come.

    The points were discussed at a session during ‘Ficci Frames Fast Track 2022’ called New Paradigm in Business of Cinema: Consumer Choices and Screen Comfort. The speakers were UFO Moviez CEO (film distribution) Pankaj Jaysinh, Sony Pictures International India general manager head Lada Guruden Singh, exhibitor and distributor Rockline Venkatesh and Movie Max chief operating officer Kunal Sawhney. The panel was moderated by Aashirwad Theatres director Akshaye Rathi.  

    Sawhney made the point that ‘National Cinema Day’, where tickets prices came down to Rs 75, was an eyeopener. Ticket prices need to be dynamic. Right now, movies are sold at the same price. He pointed out that the rates differ everywhere-be it at hotels or restaurants. “The right product has to be served at the right price.” He noted that marketing played an important role in ‘National Cinema Day’, being successful. Multiplexes also came together.

    Singh noted that the jury is still out on what films will work on what platform. “We do not have a clear cut understanding of which film will work where. But the forecast is that the stakes will become higher for the big cinematic experience. You will put more money behind creating a cinematic experience because it is going to become more difficult for people to make an appointment viewing. Going to theatres is an appointment viewing. Superhero, tent pole and action movies will be theatrical releases. Meanwhile, slice of life movies, romantic comedies and horror to a large degree work well for OTT. The demarcations are going to come. Theatre, however, is an experience that we cannot compensate for,” he said.

    UFO Moviez has recently started distributing movies that became surprise successes like Rocketry and Karthikeya 2. Jaysinh noted that linguistic barriers were demolished. For instance, Brahmastra did well in the southern states and that is where traditionally Hindi movies did not do well.

    UFO Moviez was always at the center of change. Jaysinh said, “We found that the right content was not reaching the right audience. A Nepali movie screened in Tamil Nadu had houseful shows. In Cochin, a theatre owner said that one more show timing had been added. Meanwhile, a Tamil movie did well in Jalandhar. This is the paradigm shift that is going on. In terms of marketing, he said that social media is taking the movies forward, not hoardings. The word spreads that a movie is good. So UFO Moviez is providing a block for the change that is happening.”

    Offering his perspective on linguistic barriers being broken, Sawhney said that this is also due to OTT. People are now being exposed to movies in different languages. They are open to it. Earlier, they could not relate to it. Due to OTT, people are aware of that kind of content. Sawhney said that ticket pricing needs to be dynamic. “In multiplexes there is fixed pricing based on time slots and weekdays. But a bigger budget movie and a movie that is not that popular is sold at the same price. But in hotels, restaurants, and airlines the price differs depending on the product. But in a cinema if you visit it on a Saturday evening all movies are screened at the same ticket price. People pay this price for some movies like RRR and KGF.” He also said that the Rs 75 initiative on ‘National Cinema Day’ worked due to the marketing. Cinema halls came together. The Multiplex Association worked on it. News channels spoke about it. People who did not want a movie on that day were told to watch it.

    Offering his take on prices, Jaysinh said that morning shows at 10 a.m and 11 a.m, which can be screened at a discount and will attract senior citizens. They are willing to come at that time and they will be the mouthpiece to tell their children and grandchildren.

    Talking about the way stories are told, Singh said that people in his company are passionate about Bharat stories. “It is imperative for studios like us to back stories that do not just cater to the Bandra Juhu crowd. Stories must resonate from Gandhinagar to Gorakhpur to Gangtok.” That is the philosophy which was followed to make a Telugu Hindi movie on one of the heroes of 26/11. It had a Telugu star and a director. But it was shot in Hindi and released pan India. It was also released abroad as it resonated with everyone across the world. The studio also backed Shaktimaan. He said that when they are backed by a big studio people start thinking along more creative lines because they feel that there is an opportunity. Then naturally the food chain starts functioning. So studios must understand that real growth lies in India. The decision is made on economics not on emotion. “It is important for all of us to come together and celebrate Bharat.”

    Sawhney noted that potential growth comes from tier II and III cities. They have high disposable income and time. They do not take much time to commute unlike the metros. The key is to make more good theatres there. Movies have to be projected, presented in the right way. The right ambiance, right service has to be created. Then people will come, he noted and added that even if the movie is not popular. There has to be a good theatre where the families can go. That is what is required. There is no other medium of entertainment for them. Jaysinh said that in a survey that his company underwent, people are eager to go to theatres in tier III and IV cities. The basic question is whether the theatre will have an AC. If that is there, they are willing to go. The plan is to come up with smaller screen cinemas in those places keeping in mind the fact that people want comfort.

    On the issue of the lack of cinemas vis-a-vis the population, it was pointed out that costs are high. Retail cost is high. There is also the screen cost. The industry has to come together on this. Earlier, while rental was being paid, now there is a move towards revenue sharing.

  • Zee Cinemalu announces world television premiere of ‘Kurup’

    Zee Cinemalu announces world television premiere of ‘Kurup’

    Mumbai: The Dulquer Salman-starrer “Kurup” is all set to present its viewers with the world television premiere of “Kurup” in Telugu. A compelling tale of an unending hunt is making its way to television screens on 30 September at 6 p.m.

    “Kurup” will surely take movie buffs on a rip-roaring journey based on the life of the popular Indian fugitive and most-wanted criminal, Sukumara Kurup. The story revolves around Kurup and the greed that drives him to the world of lies, crime, and theft. Other than Dulquer, the movie features Sobhitha, Shine Tom, Indrajith, and Anupama Parameswaran in important roles.

    There are also a handful of cameos by well-known actors such as Manoj Bajpayee and Tovino Thomas, among others, to make the movie a must-watch, while the background score, songs, and gripping screenplay take the experience to the next level.

  • CSAFF kicks off with a star-studded and diverse line-up

    CSAFF kicks off with a star-studded and diverse line-up

    Mumbai: In its 13th edition, the Chicago South Asian Film Festival (CSAFF) opened on 22 September  with a brilliant line-up of film and talent for the increasingly popular event to be held through 25 September. A kick-off curtain raiser for the festival took place on 16 and 17  September .

    The festival, the largest of its kind in the Midwest, will present over 80 carefully curated independent films, shorts and documentaries in Downtown Chicago, at the Columbia Film Row and at DePaul University’s School of Cinematic Arts. Over 125 film makers and artists have made their way to Chicago for this annual event which will further showcase 27 World Premieres, 23 US Premieres and 30+ Chicago Premieres at this year’s festival.

    “Chicago is developing as a big film production hub,” stated CSAFF festival director Jigar Shah. “Our festival is creating awareness of South Asian diversity here in the Midwest while also bringing this international talent to Chicago to produce this unique, exciting experience.”

    A stellar grand opening to the festival took place on 23 September at the Columbia Film Row. Walking the red-carpet were renowned talents such as Yami Gautam Dhar and Rahul Khanna from India, director Aniruddha Roy Chowdhury, Mostofa Sarwar Farooki, Samiya Mumtaz, Dananeer, Jugal Hansraj along with numerous other filmmakers and talent.

    The opening night feature film in its World Premiere was “Lost” by Aniruddha Roy Chowdhury, starring Yami Gautam and Rahul Khanna. Chowdhury’s previous film, “Pink”, with Amitabh Bachchan and Taapsee Pannu made a mark in Indian mainstream cinema and created discussions around women’s consent.

    Additionally, Mostofa Sarwar Farooki was recognized and presented with the South Asian Film Award (SAFA), for his contribution to cinema. There was a special mention of the documentary “Barefoot Empress” by filmmaker and Michelin star chef, Vikas Khanna and Oscar-winning filmmaker, Doug Roland. The opening night also highlighted the short film, “Gray” by Sakshi Gurnani and Nikhil Taneja, starring actor Dia Mirza and Shreya Dhanwanthary.

    The festival showcased the World Premiere of the Marathi film “Vaalvi” by Paresh Mokashi, and also screened “Powai” by Kuldip Patel and “Pedro” by Natesh Hegde. The kick-off curtain raiser held on 16 and 17 September featured “A Night of Knowing Nothing” by Payal Kapadia, which won the best documentary at Cannes Film Festival in 2021, “Awakash” by Chittaranjan Giri, “Manikbabur Megh (Cloud & the Man)” by Abhinandan Banerjee and Kekee Manzil, and “House of Art” by Dilesh Korya.

    On Saturday, 24 September , there will be the Centerpiece film – “No Land’s Man”, by Mostofa Sarwar Farooki and Shrihari Sathe, starring Nawazuddin Siddiqui, Megan Mitchell and Eisha Chopra and music by A.R. Rahman.

    “Four Samosas” by Ravi Kapoor will be the closing night film on Friday, 25 September, with the filmmakers in attendance. The film, which recently made a splash at the Tribeca Film Festival, features a popular and talented ensemble cast led by Venk Potula (“Veep”) and Karan Soni (“Deadpool”).

    Also, featured will be the North America Premiere and Marquee film of the festival, Shiv Shastri Balboa followed by a Q&A session with director Ajayan Venugopalan and actor Jugal Hansraj along with legendary actors Anupam Kher and Neena Gupta. CSAFF will also showcase a heart-touching short film, “Perianayaki”, which centers round the story of a Sri Lankan woman in New Zealand, by Bala Murali Shingade.

    The festival has an amazing collection of films from Pakistan too such as “Fatima Jinnah” by Danial Khan, “Stay Tuned” by Ali Ahmed and Dawa by Ariella Khan. It will showcase daring documentaries that will steer engaging conversation among the audience. There are several films and documentaries by upcoming women directors from Canada such as “Marginalizing Minorities” by Dipti Gupta, “Women Beyond Bollywood” by Rahila Bootwala and “This Stained Dawn” by Anam Abbas.

    CSAFF will also showcase local Chicago filmmakers and their films – “Before After”, “Trek to the Top”, “Propinquity”, “Ozona”, the episodic “Stuck in Reality” and more. In addition, the festival will feature films which center on controversial issues of religious prejudices, sexual orientation and bullying. Featured is “Bully High”, written and directed by Bill McAdams Jr., a coming-of-age drama headlined by an exciting young cast of Hollywood newcomers, Aneesha Madhok, Joseph Baena (son of Arnold Schwarzenegger) among many other films.

    “We are so proud of the caliber of the films and the diversity we will be presenting this year, and it is so powerful to be able to showcase it in the theaters,” pointed out Jigar.

    CSAFF will close on Sunday, 25 September  with a ceremony and awards given for best feature, best short, best documentary and documentary short as chosen by the audience. Throughout the festival there will be several event opportunities including discussions, the Filmmakers’ Lounge Series, a Bollywood dance night and Closing night after-party.

  • Titus Upputuru’s short film shines bright at Indian Cine Film Festival 2022

    Titus Upputuru’s short film shines bright at Indian Cine Film Festival 2022

    MUMBAI: “Nip in the bud”, a short film by the media conglomerate, Times Internet, has won big at the Indian Cine Film Festival. Written by famous adman, Titus Upputuru, it has been awarded the Best Screenplay award and the Best Public Service award at the event.

    Titus is the man behind the screenplay and has also directed the film. Elaborating on the win, The Titus Upputuru Company founder and chief creative officer Titus said, “Wow, I am so thrilled! I thank God for these awards and dedicate them to every voice that had the courage to share the abuse that happened at their workplaces. I am also glad that a film like this has been recognized and awarded at so many award shows as I believe that voices like these influence, inspire and contribute towards rooting out this very diabolic, sickening culture from our society.”

    The film opens on a young girl weeping profusely and with a determined look, she knows what she wants to do. The very fact that her business role model, a business tycoon, tried to get awkwardly close to her, breaks her apart. But it obviously doesn’t break her confidence and grit to make sure that the world knows about his misdeeds – she walks into a café and pens a note on social media to share the horrific experience. The film takes a twist when we see the post being read by a woman, realising to her horror that it was the same man who abused her years ago. A photograph on the mantle reveals that the two women were related and happen to be mother and daughter. The film ends with the message ‘If you are delaying, you may be encouraging’.

    For the record, “Nip in the Bud” also won the prestigious DadaSaheb Phalke Award earlier this year.