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Category: International

  • ‘My Melbourne’ hits home, Indian directors put Aussie city on silver screen

    ‘My Melbourne’ hits home, Indian directors put Aussie city on silver screen

    MUMBAI: Ever felt the urge to pack your bags for Melbourne, but your wallet disagreed violently? Relax, India’s finest filmmakers are bringing the Aussie charm straight to you. Forget about flight costs and pesky visas—My Melbourne is your cinematic passport, presenting a city bursting with diversity, cricket fever, and more multicultural spice than your favourite curry.

    Premiering in Australia and New Zealand on 6 March 2025 and released in India on 14 March, My Melbourne is co-presented by Visit Victoria and is an anthology of four unique stories. Directed by India’s film powerhouses—Kabir Khan, Imtiaz Ali, Onir, and Rima Das—the film explores identity, belonging, and the spirit of multicultural Melbourne through true-to-life narratives.

    Each director puts their signature spin on stories woven around diversity’s four pillars: sexuality, gender, disability, and race. Curious yet? Let’s dive into these captivating tales:

    In Nandini, directed by Onir, Indraneel, a queer Indian man, reunites with his estranged father in Melbourne for a ceremonial ritual. Expect some father-son fireworks, raw emotions, and maybe a box of tissues.

    Jules, directed by Arif Ali under the creative guidance of Imtiaz Ali, follows Sakshi, a newly married woman bonding with Jules, a homeless local. Who knew friendship could bloom amid Melbourne’s streets, coffee shops, and unpredictable weather?

    Rima Das directs Emma, a heartfelt story of a talented deaf dancer overcoming discrimination and self-doubt after an inspiring meeting with another deaf dancer. Talk about dancing to your own rhythm!

    And then there’s Setara, a real-life epic directed by Kabir Khan, about a courageous 15-year-old Afghan girl rebuilding her life in Melbourne after fleeing the Taliban. Cricket and resilience? Move over, Hollywood superheroes.

    “Through this cinematic journey, explore the uniqueness of Melbourne that makes it every bit different. Enjoy Melbourne through this creative lens that showcases art, culture, food, sport, entertainment and hidden laneways. Don’t miss this colourful celebration of unity and diversity!” says the film’s promotional team. A bit dramatic? Maybe. But hey, it’s cinema!

    So, why not grab some popcorn and experience Melbourne’s captivating diversity right from your couch? Beats battling jetlag any day.

  • Shin-chan to storm Indian cinemas theatrically in 2025

    Shin-chan to storm Indian cinemas theatrically in 2025

    MUMBAI: TV Asahi announced  today that the cheeky five-year-old phenomenon Shin-chan will finally be leaping onto the big screen across India with not one, but two theatrical releases slated for 2025.
    In a historic first, the mischief-maker extraordinaire will grace Indian cinemas with Shin-chan Our Dinosaur Diary  hitting theatres in May, followed by the India-themed spectacle Shin-chan The Spicy Kasukabe Dancers in India during the Diwali festivities in October.

    Distributed by cinema giant PVR Inox Pictures, the films will cater to India’s linguistic diversity with releases in Hindi, Tamil, Telugu, and Japanese with English subtitles—a strategic move that acknowledges the character’s massive appeal across the subcontinent.

    The announcement comes as little surprise to industry watchers. Since his 2006 Indian television debut, the kindergartener who can “turn any calm day upside down in an instant” has become nothing short of a cultural sensation. Broadcasting daily on Hungama TV and recently joining Sony Yay!, Shin-chan has claimed the crown as the most-watched international animation in India, with a staggering one in ten Indian children tuning in to his antics.

    “It has been our long-standing dream to release Shin-chan films in theatres in India, the movie superpower!” gushed TV Asahi head of animation sales & development  Maiko Sumida. “We hope this will provide fans with an unforgettable cinematic experience.”

    Shin-chan Our Dinosaur Diary promises a rollicking adventure featuring a small dinosaur named Nana, discovered by the Nohara family dog, with the family battling to protect their prehistoric friend when dinosaurs escape and rampage across Tokyo.

    Meanwhile, The Spicy Kasukabe Dancers in India takes Shin-chan’s signature chaos to Indian shores when he and his friends win a dance competition trip to India—only to encounter a mysterious backpack that transforms his friend Bo into a power-mad tyrant.

    The theatrical releases mark a significant milestone for the global animation juggernaut, which has aired over 820 episodes across 45 countries and released 32 films that have raked in more than $350 million at the Japanese box office.

    With millions of Indian fans—both children and nostalgic adults who grew up with the series—eagerly awaiting these releases, 2025 is shaping up to be the year Shin-chan’s trademark cheekiness conquers Indian cinema screens nationwide.

  • Britain’s rail network partners with YRF to mark twin anniversaries

    Britain’s rail network partners with YRF to mark twin anniversaries

    MUMBAI: Britain’s railway system and Yash Raj Films (YRF) have announced a cultural partnership celebrating the railway’s bicentenary and the 30th anniversary of Dilwale Dulhania Le Jayenge (DDLJ) in 2025.

    The collaboration centres on Come Fall in Love – The DDLJ Musical, premiering at Manchester Opera House on 29 May. The English-language production reimagines the 1995 Bollywood blockbuster, which featured iconic scenes at London’s King’s Cross Railway Station with Shah Rukh Khan and Kajol.

    Director Aditya Chopra, who helmed the original film, leads the musical adaptation about a British Indian woman whose arranged marriage plans are complicated by her romance with a British man. The production features 18 original English songs by Indian composers Vishal Dadlani and Sheykhar Ravjiani, with book and lyrics by Mean Girls veteran Nell Benjamin.

    The creative team includes Broadway stalwarts Rob Ashford as choreographer, Derek McLane as scenic designer, and Indian dance specialist Shruti Merchant, with David Grindrod handling casting.

    Railway 200 executive director Suzanne Donnelly highlighted the railway’s role in shaping cultural narratives, while YRF chief executive officer Akshaye Widhani emphasised the production’s message of unity and diversity.

    The musical runs through 21 June, with special events planned at Manchester and London railway stations. The original DDLJ continues its record-breaking run in Mumbai, where it has played continuously since 1995.

  • Kani Kusruti wins IMDb Breakout Star award, reflects on career and characters

    Kani Kusruti wins IMDb Breakout Star award, reflects on career and characters

    MUMBAI: When talent meets authenticity, the world takes notice. Acclaimed actor Kani Kusruti has been honoured with the prestigious IMDb Breakout Star STARmeter Award. Recognising her remarkable rise on the Popular Indian Celebrities list, the award cements her status as a performer on the brink of global recognition. The list, derived from the page views of 250 million monthly visitors on IMDb, has a track record of predicting breakout stars.

    In an exclusive conversation with IMDb, Kusruti shared her experiences, reflecting on her most relatable roles, the challenges of embodying characters, and the life lessons that have shaped her journey.

    Discussing her roles as Prabha in All We Imagine as Light and Anila in Girls Will Be Girls, Kani revealed how the two characters affected her differently.

    “When I read Anila, I honestly did not understand her. It took a while for me to get into the character, but I felt because it took a while to get into character, it also took a time to get out of the character. After the film shooting also, sometimes I think, ‘What if Anila is in this situation, how would she react?’ Some of her physical aspects lingered with me more,” Kusruti admitted.

    She described Prabha as familiar, “I understand Prabha. I know many women like that, so immediately when I read it, I understood her. But I don’t even want to be like her… The only difference is, Prabha I knew immediately. The moment I read, I knew her, I understood who she is, or I know people like her. Anila I did not know. Only after the film was released, many people I know were like, ‘Hey, you know my mom is like this,’ and even people whom I don’t know would write to me, and I’m like, ‘Where are these people? How did I never observe people like these?’”

    When asked about the toughest part of being an actor, Kusruti highlighted the nuances of becoming someone else.
    “As an actor, of course the most challenging is to really be someone else. It’s not like you become that person, that you lose your mind, but to talk differently, to use different rhythms when you are speaking, how you are sitting. So all the physical attributes of another person, which has to come so naturally to you that it’s seamless, I need a little time to prepare for that,” she explained. She added that starting without enough preparation is particularly challenging, “It is only after 3-4 days or a week that you discover the person.”

    Kusruti shared that her journey into acting was unplanned, “I did not become an actor because I had passion for acting from childhood. It was an accident; I happen to be an actor. I was more of a lover of science… I never placed myself to be an artist. I am a trained actor, so I have been in a theatre school. I will send myself to workshops to check how my craft is turning into and try to have rigorous practice.”

    Instead of direct advice, Kusruit credits her growth to observing others, “No teacher has sat with me, or no director has told me this is one piece of advice, but it’s observing them—how they have turned into amazing human beings—that has kind of moved me with certain individuals.”

    With her performances in All We Imagine as Light and Girls Will Be Girls, Kusruti has proven her ability to embody complex characters. As she continues to evolve as an actor, fans eagerly await her next move.

    To watch Kusruti’s exclusive IMDb interview, visit the video link: IMDb Video.

  • Belinda Lui steps down as MPA head – APAC; Urmila Venugopalan to replace her

    Belinda Lui steps down as MPA head – APAC; Urmila Venugopalan to replace her

    MUMBAI: It’s time to say  goodbye to the Motion Picture Association (MPA). Belinda Lui who led the MPA for the past five years as president & managing director for the Asia Pacific has decided to hang up her boots.

    Belinda during her five years did a lot of work to take the Asia Pacific film industry forward  as well as  push Hollywood in the region. According to her during her term, the MPA:

    • Improved cultural exchanges between nations, through expanding access for American films and TV dramas to priority markets like China and achieving 15-20 per cent incremental box office revenue.

    • Fueled local economies and built capacity in markets like Australia, Japan, India, New Zealand and Thailand through competitive film and TV production incentives (up to 40 per cent in tax rebates in Australia alone).

    • Supported thousands of emerging filmmakers from almost 30 countries/territories in the Asia-Pacific through our film grants and LA training programs, with some of those projects going on to win the Academy Award and international Emmy.

    Belinda, who,  through her 30 year career,  worked for companies like Warner Media, Microsoft and Baker McKenzie, has decided to offer her services to companies as an independent non-executive director and spend as much time as she can with her family.

    She is being replaced on 31 January by Urmila Venugopalan , currently executive vice president of strategy & global operations at the MPA.   In her new role, Venugopalan will work on expanding access to local markets and promoting production in new areas, as well other advocacy activities across the region. She also will work with the MPA’s anti-piracy arm, the Alliance for Creativity and Entertainment, or Ace. Venugopalan will retain her duties as the MPA’s corporate board liaison.

    She will be based in Tokyo and report to MPA senior vice president, global policy &  government affairs Gail MacKinnon.

    MPA chairman & CEO Charles Rivkin said in a statement that Venugopalan “is a veteran leader who thrives at the complex intersections of business, public policy, and global affairs.” 

    He said that she “joined the MPA (in 2017) at a time of critical change and helped revitalise and realign its structure and priorities, strengthening our organisation from the inside out. I have full confidence that her deep experience working with every aspect of our global business operations, coupled with her existing corporate board liaison responsibilities, will advance our members’ objectives across the Asia Pacific and beyond.”

    “Venugopalan is a trusted advisor who has earned the respect of colleagues and member companies. Her work has already touched every part of our organization, and she maintains a wide-angle lens on key political and sectoral trends – all while remaining laser-focused on how we can best tell the story of a creative industry that drives local economies, creates jobs, and connects communities everywhere,” said  MacKinnon. “With her at the helm of our APAC operation, I am confident the MPA will achieve even greater impact in the fastest-growing region. I am also grateful to Belinda for her effective stewardship and counsel, which has greatly benefited the MPA and our member studios in the region.”

    “The Asia-Pacific region has already played an important part in the history of our industry – and is set to assume a starring role in the future of great storytelling,” said Venugopalan. “At this critical juncture for the film, television and streaming industries, MPA members are more excited than ever about the vitality of this region – its enthusiastic and engaged audiences, its relentless dynamism, and its immensely talented casts and crews. I look forward to supporting our member studios and their local partners in their collective efforts to fuel local economies and enrich cultures across the region.”

    Before joining the MPA, Venugopalan served as a member of the policy planning staff at the US state department in Washington and as a senior consultant at the Albright Stonebridge group. She holds a bachelor’s degree from McGill University and a master’s degree from the London School of Economics & Political Science.

  • PVR Inox-Star Sports to screen Manchester United Vs Manchester City in theatres

    PVR Inox-Star Sports to screen Manchester United Vs Manchester City in theatres

    MUMBAI: The mother of all football battles is here. Manchester City vs Manchester United. The Premier League. Come 15 December 9:30 pm,  the much awaited football fiesta is sure to set the screens alight what with the supreme Rodrigo swaying and weaving past the Manchester United mid-fielders and defence and belting one hard past the open mouthed goalie Altay Bayindir and scoring. Football fans can also watch the hard fought game on select cinema screens of PVR Inox theatres in  Mumbai, Delhi, Kolkata, Kochi, Bengaluru, Pune, and other cities.  

    PVR Inox is bringing the action on the turf in collaboration with Star Sports. Bookings for this electrifying match are open now and can be made through PVR Inox’s newly launched WhatsApp Chatbot, Movie Jockey. Fans can enjoy an unforgettable experience with state-of-the-art sound, superior visuals, and the buzz of a live crowd cheering for their teams.

    This screening is part of the Star Sports Select Screenings initiative, following the success of previous events such as the Men’s T20 World Cup 2024. 

    Says PVR Inox CEO revenue & operations Gautam Dutta:  “We’re thrilled to bring the excitement of the Manchester derby to the big screen. This is more than just a match; it’s a clash of two football giants, and we can’t wait for fans to experience it in a fully immersive environment.”

     

    (The Picture is of an earlier clash between Manchester United and Manchester City)

  • 15 Films to Compete for Golden Peacock at IFFI 2024

    15 Films to Compete for Golden Peacock at IFFI 2024

    MUMBAI: Fifteen films, showcasing powerful storytelling from around the globe, are set to compete for the coveted Golden Peacock at the Fifty fifth International Film Festival 2024 to be held in Goa next week.  This year’s line-up features a mix of 12 international and three Indian films, each selected for its unique perspective, voice and artistry.

    Presenting the best of global and Indian cinema, each of these films offers a unique take on human values, culture and the art of storytelling.

    The  Golden Peacock Jury is  led this year by Indian filmmaker Ashutosh Gowariker and includes award-winning Singaporean director Anthony Chen, British-American producer Elizabeth Karlsen, Spanish producer Fran Borgia, and legendary Australian Film editor Jill Bilcock. Together, the jury will adjudicate winners in categories including best film, best director, best actor (male), best actor (female) and the special jury prize. The winning film will take home a prize of Rs 40 lakh along with one of the festival’s top honours.

    Here’s a glimpse of the remarkable nominations:
     
    1. Fear & Trembling (Iran)

    Two of Iran’s most respected women filmmakers, Manijeh Hekmat and Faeze Azizkhani, present a poignant tale about Manzar, an older woman grappling with fear and loneliness in a rapidly changing world in their film Fear and Trembling.
    This Iranian film is a world premiere in this year’s IFFI. It reflects on personal transformation amid societal shifts and depicts the challenges faced by women in the modern-day Iran. 
     
    2. Gulizar (Turkey)

    In her debut feature, Turkish writer-director Belkis Bayrak delves into the life of Gulizar, a young woman battling trauma and the societal expectations in her quest for independence. 
    Garnering attention across the festival circuit, the film has already premiered at the Toronto International Film Festival 2024 as well as the San Sebastián International Film Festival, 2024. 
     
    3. Holy Cow (France)

    French filmmaker Louise Courvoisier’s debut feature Holy Cow is a delightful coming-of-age comedy-drama that follows 18-year-old Totone, whose carefree life is turned upside down as he takes on responsibility for his younger sister. The film won the prestigious youth award in the  Cannes Film Festival, 2024.

    This charming film set in the mountainous region of the Juca in the western French Alps, portrays the turbulence of growing up and the responsibilities of adulthood faced by the main protagonist. 
     
    4. I am Nevenka (Spain)

    I Am Nevenka by Goya Award-winning director Iciar Bollaín is a bold story of a woman fighting society’s injustice in her own way. The film won the Euskadi Basque Country 2030 Agenda Award, at the San Sebastian International Film Festival held in 2024. 
    The film dramatizes the case of Nevenka Fernández, a member of the Ponferrada City Council, who in 2001 became the first woman in Spain to win a court case on sexual harassment against a high-ranking politician. 
    Inspired by true events, it chronicles the fight for justice and explores the larger societal and cultural implications of harassment and gender equality in Spain. 
     
    5. Panopticon (Georgia-USA)

    In Panopticon, Georgian-American director George Sikharulidze’s gripping debut feature, a young Georgian teen confronts questions of identity, morality, and self as he navigates his life. The film won the Ecumenical Jury – Special Mention, at Karlovy Vary 2024. 
    A poignant coming-of-age story, the film examines the challenges of growing up in a contemporary post-Soviet Georgian society. 
     
    6. Pierce (Singapore)

    Former national fencer and rising filmmaker of Singapore, Nelicia Low’s Pierce received the best director award at Karlovy Vary International Festival this year.
    A psychological thriller, the film delves into the complexities of family and sibling rivalry. Set in the high-stakes world of competitive fencing, the film follows two brothers as they struggle to balance their ambition. 
     
    7. Red Path (Tunisia)

    Prolific Tunisian theatre and cinema director and producer Lotfi Achour’s latest feature Red Path tells the story of Achraf, a young shepherd, as he navigates trauma, tradition, and personal loss in a hauntingly beautiful landscape. The film premiered at the prestigious Locarno International Film Festival in 2024. 
     
    8. Shepherds (Canada-France)

    One of the leading figures of the new Quebec cinema, Sophie Deraspea’s Shepherds is a visually stunning film on self-reinvention and the harsh realities of rural life.
    The film is her latest feature which won the Best Canadian Feature Film Award in the Toronto International Film Festival, 2024. 
    The film follows a Canadian copywriter who, seeking solace and a fresh start, moves to the French Alps to live life as a shepherd. But as he confronts the isolation and hardship of his new life, he must grapple with his past. Deraspe’s masterful direction compels the viewers to explore the ideas of human resilience and strength of character. 
     
    9. The New Year That Never Came (Romania)

    Award-winning Romanian writer and director Bogdan Mure?anu’s The New Year That Never Came takes viewers through the lives of six individuals during Romania’s 1989 revolution. The film won the Orizzonti Award for Best Film, and Special Mention: Authors Under 40 Award in the Venice International Film Festival, 2024. 
    A historical drama with a deeply personal story, Muresanu’s film weaves together political upheaval and human stories of resistance, loss and hope.  
     
    10. Toxic (Lithuania)

    In her debut feature film, Lithuanian filmmaker and screenwriter Saule Bliuvaite delivers a raw and haunting coming-of-age story of friendship amidst toxicity.  
    Toxic explores the complexities of adolescence, friendship, and self-destruction, as the filmmaker delves into the darker side of youth, winning critical acclaim for its portrayal of emotional turmoil and the pressures of growing up.

    The film won the Golden Leopard, Swatch First Feature Award, and Ecumenical Jury Prize at the 77th Locarno International Film Festival, 2024.
     
    11. Waves (Czech Republic)

    Czech actor, scriptwriter and director Jiri Madl’s Waves is his third feature film, and has been selected as the Czech Republic’s official entry for best international feature film at the ninety seventh Academy Awards.
    The film is a powerful historical drama set during the 1968 Soviet invasion of Czechoslovakia. The film revolves around a group of journalists risking everything to report the truth as their country’s freedom is in danger. 
     
    12. Who Do I Belong To (Tunisia-Canada)

    Who Do I Belong To, is noted Tunisian-Canadian filmmaker Meryam Joobeur’s debut feature. This is a high-octane yet poignant drama about a broken family. The film tells the story of a Tunisian woman, who is caught between her maternal love and her search for the truth when her son returns home from war and unleashes a darkness throughout their village. 
    The film premiered at the Berlin International Film Festival 2024. The film weaves a complex narrative of maternal love and personal sacrifice. Joobeur’s work has already garnered praise for its emotional depth and strong performances. 
     
    13. The Goat Life (India)

    In The Goat Life, national award-winning Malayalam film director Blessy tells the true story of an Indian migrant worker struggling to survive in the harsh desert of Saudi Arabia. 
    The film is an adaptation of the  best-selling Malayalam novel Aadujeevitham by the author, Benyamin, which is based on the real-life story of Najeeb, a Malayali immigrant labourer in the gulf.
    This gripping drama explores the themes of migration, survival and the human spirit amidst the adversities of life.
     
    14. Article 370 (India)

    Article 370, directed by the national award-winning filmmaker Aditya Suhas Jambhale, is a tense political thriller set against the backdrop of India’s tumultuous constitutional changes.  
    The story delves deep into the intricacies of Article 370, which granted special autonomy to Jammu and Kashmir. The film masterfully portrays the socio-political landscape of the region. The director expertly weaves a narrative of struggles of power and personal sacrifice in the film. 
     
    15. Raavsaheb (India)

    Raavsaheb is a much-anticipated Marathi crime thriller film directed by national award-winning filmmaker Nikhil Mahajan. This film is a world premiere in this year’s IFFI. Nikhil Mahajan’s crime thriller centres on the man-animal conflict in tribal lands and a quest for justice. The film is a gripping tale set in the tribal lands of India.

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  • West Asia cinema market to get growth urge from Saudi Arabia

    West Asia cinema market to get growth urge from Saudi Arabia

    MUMBAI: For movie lovers in the middle east north Africa (Mena) region, this is great news. And for Indian movie producers and distributors it is probably even better news. Analysis by London-based research outfit Omdia has revealed that the Mena cinema market is poised to catapult to new heights with revenue growing from $900 million in 2024 to $1.5 billion by 2029. The main driver of this growth is going to be Saudi Arabia which will account for almost two-thirds of the region’s cinema revenue. 

    West Asia, according to Omdia, has emerged as the fastest cinema building market, adding 1,000 new screens, starting 2019 to reach 2.500 screens by end 2024. Saudi Arabia, which is on aggressive city and entertainment hub building spree is expected to lead the additions, reaching 803 screens by year end 2024. The UAE is expected to be next in the pecking order with 734 screens.

    To top that, OMDIA says that even though west Asia is focusing on local productions, expanding its theatre count, and spreading cinema culture there is still much work to be done to sustain interest in local films and broaden their appeal.

    Beyond cinema, the online video streaming market in Mena is also on a strong growth trajectory, projected to reach $2.7 billion by 2029. This reflects the region’s evolving entertainment landscape, where audiences are embracing both traditional cinema and digital streaming platforms, creating a diverse and dynamic entertainment ecosystem.

    Says Omdia senior  director of media & entertainment  Maria Rua Agute: “With films no longer made solely for cinema; streaming platforms play a major role in financing and offer audiences a great variety of films, including those that might not reach traditional cinemas due to cost or limited availability of screens. In a region with relatively few arthouse cinemas in the region, there is a growing need for more diverse venues and programming to reflect the evolving film culture and cater to different tastes and genres. Expanding the availability of diverse cinema will be key to meeting demand.

    “The growth of cinema in the Mena  region, particularly in Saudi Arabia, signals a major shift in both the regional entertainment landscape and global filmmaking. Investments in infrastructure, local film production, and streaming are helping diversify cinema offerings. As audiences embrace both traditional theater and digital platforms, the region’s film culture has immense potential to flourish and gain international recognition.”
     

  • Lights, camera, Goa! IFFI 2024 to spotlight young filmmakers

    Lights, camera, Goa! IFFI 2024 to spotlight young filmmakers

    Mumbai: The stage is set for the 55th International Film Festival of India (IFFI) as it prepares to dazzle cinephiles from 20-28 November. Bringing the world of cinema to Goa, IFFI 2024 celebrates young filmmakers and emerging voices, building a vibrant platform to shape the future of storytelling. The festival promises a week of innovative programming, masterclasses with industry icons, and screenings of acclaimed films from around the globe, creating an unmissable cinematic journey for enthusiasts and professionals alike.

    The theme, ‘Young Filmmakers – The Future is Now’, champions India’s emerging talent, aligning with the ministry of information and broadcasting ‘s vision to empower youth as the torchbearers of creativity. Minister of state for information & broadcasting, L. Murugan declared at the curtain-raiser press conference that IFFI is now seen on par with global film festivals like Cannes, evidenced by the record-breaking 1,676 international submissions this year. “IFFI has become a landmark event, not just for India but internationally,” he said, emphasising its increasing global reach and significance.

    With new awards and an expanded Creative Minds of Tomorrow initiative, IFFI 2024 is poised to attract 400 young talents from across India. The ministry has organised promotional roadshows in cities like Mumbai and Chennai to boost public engagement, calling on industry leaders and audiences to embrace IFFI as a world-class event and experience the best in cinematic storytelling.

    Ministry of I&B, Secretary, Sanjay Jaju reiterated the significance of the festival: “India is rapidly emerging as the world’s largest filmmaking nation, embracing varied formats and perspectives. The new, emerging voices within our industry will play a pivotal role in shaping the nation.” IFFI 2024 will feature curated sections, special awards, and tributes to cinematic legends, all designed to resonate with today’s storytellers and audiences.

    Festival director Shekhar Kapur stressed the importance of storytelling: “In a rapidly evolving world, preserving the craft of storytelling is more essential than ever.” His message reflects IFFI’s commitment to honouring and elevating cinema as an impactful cultural force.

    IFFI 2024, hosted by the ministry of Information & broadcasting in collaboration with NFDC and the Entertainment Society of Goa, promises a cinematic experience like never before, uniting audiences and artists from around the world to celebrate creativity and cultural heritage.

    Key Highlights of IFFI 2024:

    – Australia as Country of Focus: IFFI will honour Australia, featuring a dedicated film package, MOU signing between Screen Australia & NFDC, and the Asia premiere of *Better Man* by Michael Gracey, showcasing the life of Robbie Williams.

    – Lifetime Achievement Award: The Satyajit Ray Lifetime Achievement Award will be presented to Australian filmmaker Philip Noyce for his contributions to cinema through films like *Patriot Games* and *The Bone Collector*.

    – International Competition and Debut Awards: Fifteen international films will vie for the Golden Peacock, with a new Best Debut Indian Director award celebrating fresh voices in Indian cinema.

    – Restored Classics: NFDC-NFAI will screen classic Indian films like *Awara* and *Hum Dono*, restored under the National Film Heritage Mission.

    – Accessibility First: IFFI 2024 is the first accessible IFFI, with Svayam as Accessibility Partner, ensuring inclusivity for all audiences with features like audio descriptions and sign language interpretation.

    – Masterclasses and Industry Panels: More than 25 sessions featuring global and Indian icons such as AR Rahman, Mani Ratnam, and Shabana Azmi.

    – IFFIesta Entertainment Zone: A new youth-focused cultural zone will blend film, music, art, and food, enhancing the festival’s vibrancy and engagement.

  • Filmmaker Tomas Vengris reveals his cinematic secrets at EUFF 2024

    Filmmaker Tomas Vengris reveals his cinematic secrets at EUFF 2024

    Mumbai: Day two of the 29th European Union Film Festival (EUFF) was a whirlwind of emotions, laughter, and thought-provoking cinema. From the comedy-drama ‘Death is a Problem for the Living’ directed by Teemu Nikki, to the romantic-drama ‘Five and a Half Love Stories In An Apartment In Vilnius, Lithuania’ helmed by Tomas Vengris, the day was a rollercoaster of cinematic experiences.

    After the screening of the film Five and a Half Love Stories in an Apartment in Vilnius, Lithuania, the audience enjoyed an engaging panel discussion featuring film’s director Tomas Vengris, and Yile Yara Vianello, actress from the opening film La Chimera. The session was moderated by Padma’s Lit Club founder Padmapriya Janakiraman an accomplished dancer, and a seasoned actor with over 15 years in Indian cinema, including lead roles in more than 60 films across six languages.

    The panel delved into the theme ‘Longing and Desire: On Screen,’ with each speaker sharing personal stories that explored the complexities of relationships, love, and the tension between personal dreams and societal pressures. Their insights resonated deeply, leaving a lasting impact on the audience.

    During the panel, Tomas Vengris, the director of Five and a Half Love Stories in an Apartment in Vilnius, Lithuania, shared how he was drawn to the complex, often absurd emotions within relationships and aimed to bring these to life through his film.

    He further added that, at some point, he decided to show these stories through the perspective of an apartment, through the POV of a physical building that has been there for centuries and has lived through a million stories, with people who’ve come in and gone out of it. As per him, this somehow allowed him to step back and reflect on things.

    According to him, part of working in the comic genre is being able to watch from the side. Drama is when you’re looking directly into the perspective, but comedies allow you to step back a little bit, and that gives you the permission to laugh, and by placing the camera in the perspective of the apartment, gave one the permission to laugh. The camera is therefore in another room—behind a shelf, higher up and lower, at every angle so it doesn’t feel like a human being is watching the scene. Some of the little dream sequences in the film or interludes were also meant to show the feeling of this apartment’s spirit.

    The 29th European Union Film Festival (EUFF) is currently ongoing in New Delhi till 16 November.