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Tag: NFDC

  • LTIMindtree, IFFI script India’s first AI film fest

    LTIMindtree, IFFI script India’s first AI film fest

    MUMBAI: Cinema is getting a digital rewrite. LTIMindtree has partnered with the International Film Festival of India (IFFI) and the National Film Development Corporation (NFDC) to launch India’s first-ever AI Film Festival and Hackathon, set to take place during IFFI 2025 in Goa from November 20 to 28.

    The initiative, powered by LTIMindtree’s Blueverse Craftstudio, aims to explore how artificial intelligence can reshape the way stories are written, filmed, and experienced. From AI-generated films to creative tech experiments, the festival promises to be a melting pot of imagination and innovation.

    Speaking about the initiative, festival director of IFFI and jury chair of the IFFI AI film festival Shekhar Kapur said, “Cinema has always reflected the power of human imagination. Today, AI gives us a new lens that expands our ability to dream, design, and express.”

    Adding to that, LTIMindtree executive vice president and global head of interactive services Sujay Sen said, “The future of storytelling lies at the confluence of human creativity and AI. We’re proud to help bring that future to life.”

    NFDC managing director Prakash Magdum noted that this partnership extends IFFI’s legacy of celebrating emerging voices and technologies into “the world of AI: responsibly, inclusively, and with global collaboration.”

    The event will feature an AI film showcase, a 48-hour hackathon, and workshops on creative technology, offering filmmakers, developers, and dreamers alike a front-row seat to the next big evolution in storytelling.

    As cinema meets code in Goa, IFFI 2025 might just prove that the next great filmmaker could be part human, part algorithm.

     

  • Prime Video adds a reel treat with NFDC’s ‘Cinemas of India’ for just Rs 199 a year

    Prime Video adds a reel treat with NFDC’s ‘Cinemas of India’ for just Rs 199 a year

    MUMBAI: Prime Video India has rolled out the red carpet for film buffs, announcing the launch of ‘NFDC – Cinemas of India’ as an add-on subscription, priced at just Rs 199 per year. The collection is a goldmine of Indian cinema, featuring landmark films by the likes of Satyajit Ray, Shyam Benegal, Mira Nair, Kalpana Lajmi, and more.

    The newly added bouquet includes cinematic heavyweights like Gandhi, Mirch Masala, Rudaali, Salaam Bombay!, Agantuk, and Suraj Ka Satvan Ghoda — all carefully curated by the National Film Development Corporation (NFDC), known for nurturing India’s parallel cinema movement.

    Part of Amazon’s growing video entertainment marketplace, the service provides frictionless access to over a hundred critically acclaimed films across 12 Indian languages — from Bioscope (Malayalam) to Parinamam (Malayalam), Percy (Gujarati) to Qissa (Punjabi).

    Many of the titles boast honours from Cannes, Venice, Toronto and the National Awards, making the NFDC channel a veritable masterclass in Indian storytelling.

    “NFDC has been the cornerstone of India’s finest cinema, nurturing path-breaking films for decades. We’re excited to announce NFDC – Cinemas of India as our newest add-on subscription, featuring an exclusively curated collection of cinematic masterpieces,” said Prime Video head of marketplace (add-on subscriptions and movie rentals), Gaurav Bhasin. “The collection showcases the rich heritage of Indian cinema across our linguistically diverse entertainment industry. Whether you’re a cinephile or just beginning to explore Indian cinema, NFDC’s catalogue offers an unparalleled window into our country’s most acclaimed and culturally significant films. Through add-on subscriptions like these, we continue our commitment at Prime Video to super-serve customers with more of what they love, all in one place.”

    “We are thrilled to collaborate with Prime Video to make NFDC’s rich collection of movies accessible to a wider audience. For decades, NFDC has supported pioneering filmmakers and impactful narratives that showcase India’s cultural diversity. With Prime Video’s massive reach across the country, we are confident that these timeless, thought-provoking, stories will reach and be enjoyed by new audiences, and enable us to take Indian cinema far and wide,” said NFDC Ltd MD, Prakash Magdum.

    For the price of popcorn, viewers can now stream decades of cinematic genius — all in one click. Lights, camera, nostalgia.

  • YRF recruits Ketan-O-Rana as sr manager production & post-prod supervisor

    YRF recruits Ketan-O-Rana as sr manager production & post-prod supervisor

    MUMBAI: He’s an alumnus of Amity University where he graduated in  journalism, and Whistling Woods where he completed his film production and direction diploma. 14 years later  Ketan-O-Rana recently  joined YRF – Yash Raj Films  as senior manager production and post production supervisor.

    Along the way he worked in various capacities in companies such as Equinox Films, Balaji Telefilms, Ramesh Sippy Entertainment either in production or creative. NFDC beckoned and he joined it as a creative director for a couple of years until he was called by Dar Motion Pictures as a writer director – once again for a couple of years.

    Bambai Dreams was his next stop, followed by B62 studios where he rose to become post- production supervisor. He had a six month stint working at Mukta Arts where he worked as an associate on Subhash Ghai’s film. He finally went independent founding his own banner Postman Pictures which he ran for 12 years. He then decided may be it would be good to be employed someplace and joined YRF.

    “I’ve spent years on sets where chaos meets creativity, navigating the showdown between vision and reality. Now, as post production supervisor at Yash Raj Films, I leverage my background as an associate director, producer, and screenwriter. I thrive on the details and those fleeting moments that elevate a story—whether it’s crafting explosive action sequences or executing the cut that just hits right. The reel never stops rolling, and I’m committed to making every frame count,” Ketan  said on Linkedin while announcing his appointment at YRF. 

  • Nina Lath’s film festival initiative Cinevesture makes major announcements

    Nina Lath’s film festival initiative Cinevesture makes major announcements

    MUMBAI:  You’ve got to hand it to Nina Lath. The former NFDC MD-turned-producer-turned festival organiser does not let anything get in her way. If she wants something, she goes out and gets it.

    Like she has done with her initiative Cinevesture which organised  the  inaugural edition of  the Cinevesture International Film Festival (CIFF).

    The festival is  back along with a market rebranded as *CinéV-CHD*, which will take place on 20-23 March 2025 in Chandigarh.

    Not just that: CIFF has also got into a relationship with the Indian Film Festival of Los Angeles (IFFLA).

    Let’s have a bit of a recap of  the inaugural edition of CIFF. It garnered significant attention and hosted prominent Indian film personalities including Karan Johar, Boman Irani, Sudhir Mishra, Shekhar Kapur, and Richa Chadha.

    Under Cinevesture, Lath has also designed CineV to be a a series of film markets that are designed to facilitate interactions between film professionals, investors, and distributors.  These markets will serve as a hub for private investors and industry insiders to explore co-production opportunities, secure funding, and forge strategic alliances.

    CinéV-CHD 2025 marks the first such market. Registrations for it  will open from  14 January 2025.

    Starting in 2025, Cinevesture will partner with IFFLA, the leading south Asian film festival based in Los Angeles. The partnership, *CinéV-IFFLA*, aligns the mission of both entities to support innovative storytelling and foster global collaborations.

    This collaboration will integrate south Asian stories curated by Cinevesture for CinéV-IFFLA into IFFLA Industry Days along with IFFLA’s selected projects from north America.

    Industry Days, which takes  place during the annual festival, is a pivotal forum that connects bridges south Asian filmmakers with Hollywood producers, offering opportunities such as pitch competitions, panels, masterclasses, industry round tables and networking events.

    The twenty third edition of IFFLA is scheduled on 6-10 May  2025 in Los Angeles. Submissions for IFFLA’s pitch competition open on 3 December  2025 at www.indianfilmfestival.org.

    CineV-CHD and CinéV-IFFLA also mark the beginning of Cinevesture’s broader initiative to build a network for investor-creator collaborations in south Asia and the diaspora. These events will focus on linking filmmakers with potential partners to develop projects that align with market demands.

    Beyond film screenings, the festival will host a series of insightful conversations and panel discussions. These sessions will delve into various aspects of film making, including script writing, directing, producing, and distribution. Renowned industry experts will share their knowledge and experiences, providing valuable insights for aspiring filmmakers and industry professionals.

    Says Cinevesture founder & CEO Nina Lath: “Unlike other sectors , film production often presents a challenge for private investors due to its intangible nature and relatively short shelf life. Yet the passion for cinematic storytelling and potential for substantial returns makes it an enticing opportunity. With CinéV, our mission is to bridge this gap by connecting pre-vetted projects with credible producers and investors, aiming for  mutually beneficial outcomes for all involved. As we bring the second edition of our event to Chandigarh, we are excited about the growing momentum and are proud to collaborate with IFFLA, a festival that has earned the utmost respect in the Indian film industry.”

    Adds IFFLA founder Christina Marouda:  “The partnership with Cinevesture comes at the perfect time for IFFLA as it officially expands its twenty third year legacy and footprint into the development of south Asian focused content. We could not think of a better partner than Nina and her new venture to create an ecosystem of talented storytellers and attract the right investors for these curated projects. This filmmaker-investor curated track is a gap we’re filling in with this endeavor. I’m excited for the IFFLA and Cinevesture teams to be joining hands, and cannot wait to see the results of such a unique and timely collaboration.”

  • NFDC and Netflix partner to launch “The Voicebox”

    NFDC and Netflix partner to launch “The Voicebox”

    Mumbai: National Film Development Corporation, a public sector enterprise under the aegis of the Ministry of Information and Broadcasting (MoIB), has joined hands with Netflix India to launch an upskilling program for voice-over artists in India called “The Voicebox”.

    The occasion was graced by Shri. Sanjay Jaju, Secretary, MoIB, Vrunda Desai, joint secretary (Films), MoIB, Shri. Aditya Kutty, legal director, Netflix, Freddy Soames, head of competition policy, Netflix, and Sharad Mehra, chairman, Pearl Academy, among others.

    Today at Shastri Bhawan, Prithul Kumar, managing director, of National Film Development Corporation (NFDC) and joint secretary (Broadcasting II), MoIB and Kiran Desai, general counsel, and senior director – of business and legal affairs, Netflix India, signed the MoU to formalise the partnership, which aligns with NFDC and Netflix’s combined vision to promote Indian cinema and nurture talent in the Media and Entertainment industry.

    “The Voicebox” program will offer Recognition of Prior Learning (RPL) training for voice-over artists focusing on English, Hindi, Marathi, Bengali, Malayalam, Tamil, Telugu and Gujarati languages. As part of the program, structured workshops, which would include training (featuring guest lectures and mentoring sessions), followed by an assessment, will be conducted in seven major cities of India – New Delhi, Mumbai, Kolkata, Ahmedabad, Hyderabad, Chennai, and Kochi. Each batch would accommodate up to 30 candidates, with 210 participants selected through preliminary screening. At least 50 per cent of the participants will be women.  

    Pearl Academy, India’s leading design institute will join as a Training Partner for this program. Seven top participants from every batch will be chosen to contribute to Netflix’s special project, “Azaadi ki Amrit Kahaniya”, where they will lend their voices to narrate stories reflecting the Indian independence movement.

    The program is open to professionals, preferably women, with more than two years of experience in the media and entertainment sector, who are eager to enhance their skills in voice-over.

    This Voicebox program is sponsored by the Netflix Fund for Creative Equity, which has dedicated $100 million a year over five years to setting underrepresented communities up for success in the TV and film industries through programs all around the world.

  • With a record 12,000 delegates, 314 films, MIFF closes on a high

    With a record 12,000 delegates, 314 films, MIFF closes on a high

    Mumbai: With a record-breaking attendance of 12,000 delegates and the screening of 314 films, the 18th Mumbai International Film Festival (MIFF) concluded on a high note. This edition of MIFF witnessed unprecedented delegate participation, with enthusiasts attending various screenings, panel discussions, and masterclasses. Films from 59 different countries were showcased during the festival, which not only took place in Mumbai but also extended to venues in Delhi, Kolkata, Chennai, and Pune for the first time.

    NFDC festival director and MD Pritul Kumar expressed his satisfaction with the overwhelming response to this year’s MIFF. “The remarkable turnout demonstrates the growing interest in documentaries, shorts, and animation among a dedicated audience. The success of MIFF should be attributed to robust programming, setting new benchmarks for future editions.“

    With a host of eminent personalities like Richie Mehta, Santosh Sivan , Daniela Volker, Ketan Mehta, Tushar Hiranandani, Alphonse Roy, T.S. Nagabharana among others attending the festival, the 18th MIFF was also lauded for its excellent organization and venue design ensuring accessibility and protection from the monsoon rains in Mumbai. Special measures, such as providing training to volunteers for attendees needing special assistance, and installing ramps across the festival campus, enhanced the overall experience for all participants.

    Working with the not for profit organisation Svayam, volunteers and teams at the festival were made to undergo special training to better equip them with patrons that needed special attention. Venues were also made accessible with the instillation of ramps across the festival campus.

    There were also special screening for people with hearing and visual impairments.

    “I think the selection of films was very good and many of the documentaries were insightful. It was especially good because everything was within the same campus and we could book on the app, rush to the next screening, eat and also discuss with our friends without stepping out or getting wet” said one of the delegates.

    The festival this year also digitised the screening bookings and its badge registration , to further facilitate accessibility and time efficiency. Furthermore stalls from various countries, Indian states, start ups and the skill council allowed for interested audiences and delegates to interact, learn and engage.

    The first ever docu bazaar that was put up, saw 108 projects in Work-in-progress and Viewing Room, while for co production there were 16 projects selected from 63 entries. 15 producers interested in backing documentaries, shorts and animation were part of the docu bazaar this year.

  • Bharat Pavilion at the 77th Cannes Film Festival inaugurated with fanfare

    Bharat Pavilion at the 77th Cannes Film Festival inaugurated with fanfare

    Mumbai: In a year that spells magic for Bharat at the 77th Cannes Film Festival, with numerous official selections across sections, The Bharat Pavilion was inaugurated amidst much fanfare today at the 77th Cannes Film Festival in France.

    Organized each year at the prestigious Cannes Film Festival by FICCI as a industry partner and NFDC under the aegis of the Information and Broadcasting Ministry, this significant milestone marks India’s continued commitment to showcasing its rich cinematic heritage and fostering international collaborations with the global film fraternity.

    The grand inauguration ceremony was led by secretary of ministry of information and broadcasting, Sanjay Jaju along with H.E. Jawed Ashraf, ambassador of India to France.

    The momentous inauguration was also witnessed by esteemed dignitaries, renowned filmmakers, and industry leaders coming together to celebrate the essence of Indian cinema. Guests present included Tholoana Rose Ncheke, chairperson, the National Film and Video Foundation, South Africa, Christian Jeune, director of films department, deputy general delegate, Cannes Film Festival, and Filmmaker Richie Mehta among others.

    Speaking at the inauguration, Shri Sanjay Jaju said “Heartening to have more Indian projects in the Cannes official selection this year, one each in the competition in uncertain regard and let me also confess that both these projects have been the beneficiaries of the support from the government in terms of the incentive as well as the official core productions.”

    “The Bharat Pavilion here would serve as a hub for networking, collaboration, promotion of Indian Cinema on the global stage. We would like to foster a greater collaboration between the Indian audiovisual industry and international counterparts, thereby enhancing the visibility and accessibility of Indian Cinema worldwide and serve the national goal of using the power of Cinema to enhance the country’s soft touch.” Added the Secretary.

    “India is gaining attention worldwide, both geopolitically and economically, due to its philosophical contributions, thoughts, and ideas. Its role in a multipolar world of great uncertainty is significant as we transition from the existing international order into a new one. All these aspects are interconnected, making it increasingly important for us to have a greater presence abroad, particularly in cinema” Said H.E. Jawed Ashraf.

    “It’s such a momentous occasion of Indian cinema here. Personally, for me, I wouldn’t have a career if not for the film festival community. The festivals have helped me unlock a career. It’s a real honour to be a part of this inaugural.“ said Richie Mehta.

    Many states like Jammu & Kashmir, Karnataka, Goa and Maharashtra among others are present representing India at Cannes Film Market this year.

    The Bharat Pavilion serves as a dynamic platform, providing a gateway to the diverse landscape of Indian films, talent, and industry opportunities and is set to host a series of scintillating panel discussions and networking sessions during the 77th Cannes Film Festival.

  • “Streaming allows every story to find its own audience”: Sushant Sreeram

    “Streaming allows every story to find its own audience”: Sushant Sreeram

    Mumbai: Prime Video, India’s most loved entertainment destination, participated in an insightful OTT roundtable session on ‘What’s the secret ingredient that gives Indian content its global appeal?’ at Film Bazaar at the ongoing 54th International Film Festival of India (IFFI), Goa. Sushant Sreeram, country director, Prime Video, India joined the conversation that was moderated by Rajeev Masand, COO at Dharma Cornerstone (DCA). The panel also featured Prithul Kumar, Joint Secretary (Films), Ministry of Information & Broadcasting and Managing Director, NFDC, as one of the co-panelists, along with other eminent leaders from the industry.

    “I believe we are very close to having that definitive breakout hit internationally because the signs are all there when you see your stories travel so brilliantly,” shared Prime Video, India country director Sushant Sreeram talking about when India will have its own breakout moment on the international stage. He also spoke about the need for authentic local storytelling; these are stories that resonate with local audiences and then become breakout hits across the country with audiences outside the country eventually discovering and loving these rooted narratives, giving examples of Pushpa: The Rise and Kantara. He underscored that 50% viewership of Prime Video’s local language content comes from outside the home states, while 25% audience of Indian titles comes from outside India. Continuing in the vein he said, “I think our storytelling has gotten incredibly rich. We have creators, studios and talent imagining a world of great storytelling, and with streaming providing the reach for every story to find its own audience, we are already breaking out internationally.” He cited examples of Prime Video’s Original series like Farzi, Jubilee and Made in Heaven that were loved not just within the country but also outside. While Farzi was streamed by viewers in 170 countries and territories just over the launch weekend and entered the top 10 trending titles lists on Prime Video in multiple countries beyond India, including the U.S., UK, Canada, UAE, Saudi Arabia, Bahrain, Singapore, Australia, New Zealand and Malaysia, Made in Heaven in its launch weekend it entered the top 10 trending titles lists on Prime Video in over 20 countries including the U.S., Canada, Australia, New Zealand and Malaysia. Jubilee has been on a winning spree at every award show, including the Best Series award at the International Film Festival of Melbourne.

    Responding to a question on independent, low budget or experimental filmmakers not finding a home for their films, Ministry of Information & Broadcasting Joint Secretary (Films) and NFDC MD Prithul Kumar elaborated that just a few years ago, when streaming services did not exist, an independent filmmaker would have found it tough to go to an exhibitor and even conceptualize distributing their films. However, he added, streaming services have enabled such films and filmmakers finding a home for their films on OTT.

    Elucidating further on this point, he added that streaming services have helped content producers dream big, even if they have smaller budgets, something that they were unable to do in the pre-streaming era. He highlighted that from the government’s perspective, the sector is doing fairly well and getting investments into India.

    Responding to the question whether streaming is becoming the domain of big-budget star vehicles exclusively, Sushant cited Prime Video’s content slate released in 2023, emphasizing the diversity of titles and talent, from Farzi and Jee Karda to Happy Family Conditions Apply to docuseries like Cinema Marte Dum Tak, Dancing on The Grave, among others, emphasizing that the diversity made for interesting storytelling. He added, “Many of the shows that we have launched this year and over the past 7 years have been with new upcoming creators. We have over 100 projects in various stages of production and development. While we will continue to bring back the successful franchises – Mirzapur, The Family Man, Pataal Lok, our conscious effort has been to ensure that we also continue to work with new and upcoming creators.” He also spoke about streaming not only providing access to content, or expanding the linguistic palette for customers, but it also acting as a window into many cultures.

    While discussing the impact of the direct-to-streaming (DTS) model on the overall creative ecosystem, as well as on the customers Sushant said, “Our approach has been pretty straightforward, if it is a good story that we think we ought to bring to customers, in over 240 countries and territories, we find a way to make it work. DTS is a part of our repertoire of being able to bring stories to customers”. He elaborated how Prime Video has not just pioneered the DTS model, but also produces Original movies like Maja Ma, Ammu, and the upcoming Ae Watan Mere Watan, and co-productions like Ram Setu, Neeyat, the upcoming Yodha as well, which premiere first in theatres before coming on the service. “We actually started off with the DTS approach in India during the pandemic and in over 3-4 years, we have had over 60 DTS releases,” he added, “I believe that direct-to-streaming has been a win-win for customers globally, as well as for the creators to be able to think untethered of the distribution.”

    Making a point on the longevity of streaming content, Sushant said, “It’s an incredibly diverse landscape of entertainment. There is no one language, genre, or one type of customer. We had that epic realization very early on. Our programming across 10 languages, across a very diverse state of genres, for very different customer types, keeps us rooted in the reality.” Giving example of the longevity of a show, he spoke of Mirzapur, Pataal Lok, The Family Man, Made in Heaven. He said, “If you look back to 2018-19, Mirzapur was this show that that nobody had heard of. Now we get to call it a culture defining show, but back then it was just a story well told. I think if we back the right creators and honest storytelling, then the shows go on to become these large culture-defining moments. Today, 6 of 10 shows on IMDb’s list of highest rated Indian streaming shows are from Prime Video.”

    Prime Video’s participation at IFFI is a testament of the pivotal role video streaming sector is playing in enabling the growth of India’s creative economy, and acting as a robust platform to showcase Indian stories, talent, and creators in the global arena.  

    Over the years, IFFI has established itself as a melting pot of myriad rich cultures and cinematic excellence, as it brings the world’s most outstanding films and shows, as well as stellar creators, talent, and storytellers together under one roof. As one of Asia’s oldest film festivals, it celebrates the rich cinematic excellence, creativity, and innovation that embodies the rich and vast entertainment ecosystem within India and from around the world.

  • NFDC announces Satyajit Ray poster design contest winners

    NFDC announces Satyajit Ray poster design contest winners

    Mumbai: National Film Development Corporation Limited (NFDC) held an online film poster design contest in honour of the legendary filmmaker Satyajit Ray, who will be honoured at the 53rd International Film Festival of India (IFFI) in Goa from 20 to 28 November. The contest’s theme was The One and Only Ray.

    Information & Broadcasting minister Anurag Thakur expressed his appreciation and said, “I extend my congratulations to the three winners whose posters were selected out of hundreds of entries and the 75 top poster designers who meticulously created such imaginative film poster designs for the ‘One & Only Ray’ contest. I further extend my appreciation to the jury for their time and thoughtful selections. This 53rd IFFI is set to bring in a whole new experience for movie lovers from around the world, the excitement is catching on!”

    Artist Sayak Das was the winner of the contest while Varad Godbole was the first runner up and Aniruddha Chatterjee was the second runner up

    NFDC India managing director Ravinder Bhakar informed, “In honour of Azadi Ka Amrit Mahotsav and the 100th anniversary of Ray and 39th birth anniversary, we held this contest for creative professionals with knowledge of art, visual communication, graphic design, and illustrative skills. Everything came together, and we now have our top 75 winners. We hope the general public will praise the film poster designs that will be on display at the 53rd IFFI.”

    The International Film Festival of India (IFFI) aims to provide a common platform for filmmakers from around the world to showcase their talent and the best of cinema from around the world. As the country commemorates the 75th anniversary of its hard-won independence with Azadi Ka Amrit Mahotsav flags swaying in every state, 75 film poster designs from across the country have been chosen to be displayed for audiences in a unique exhibition of the legendary Satyajit Ray at the 53rd International Film Festival of India 2022.

    The jury, composed of renowned artists from the fields of art, cinema, and painting, selected the 75 best film posters from a total of 635 submissions. The entire process, including the jury and evaluation, was conducted online. The top three winners will receive cash prizes, as well as a souvenir created from the winning film poster designs, which will be presented to dignitaries during the 53rd IFFI.

    Filmmaker Shyam Benegal said, “The One and Only Ray film poster design contest at the 53rd IFFI honours Ray’s legacy both as a filmmaker as well as his considerable work as a typographer, and graphic designer-the last but not the least of the great masters of the Bengal Renaissance.”

    Indian painter & muralist Anjolie Ela Menon said, “I am obliged to be a member of the jury for the ‘One and Only Ray’ contest, the applicants and the innovative work reflected their sharp efforts. It is a proud moment for India; since we have a wealth of talent. I hope that applicants will hone their creative abilities and wish their earnest efforts will all be recognized in future. Adulation for the winners of the contest.”

    Veteran artist and animation film designer  Dhimant Vyas shared his views, “Overwhelmed by the calibre of the applicants, NFDC has done an outstanding job toward its objective of providing a platform for emerging film poster creative artists and designers and paying homage to the renowned Ray. I wish success to everyone who took part, the creatives were remarkable.”

    The jury, which included renowned artists from the fields of art, film, and painting, chose the 75 best film posters from 635 submissions. The entire process, including the jury and evaluation, was conducted online. The top three winners will receive monetary prizes, with the winner receiving Rs 1,000,000/-, the first and second runners up receiving Rs 75,000 and Rs 50,000, respectively, as well as a souvenir created from these three winning film poster designs, which will be presented to dignitaries and eminent personalities attending the 53rd IFFI.

    Each jury panelist was given a unique login and password, and a scoring criteria was used to determine the winners: creativity and originality, theme relevance, visual contest, and visual impact.

    Imafoundation.com founder, artist and curator Radha Binod Sharma stated, “I am honoured and privileged to serve and conduct national duty for the NFDC organisation. This is a great initiative which has helped to bring prominence to the present and past cultural riches that exist in India. I come from a rich, and derp culture in the North-East of India, namely Manipur and Tripura and beyond my artistic work I am committed to identifying talented artists in India and worldwide. I appreciated and enjoyed viewing the exceptional works from the varied regions of our culturally diverse country and I was uplifted by how the applicants rose to the challenge of the contest and theme. As a result, I saw a lot of emerging talent with some impressive film poster designs which filled me with immense pride. Vande Mataram.”

    Artist Prakash Bal Joshi told, “Was joyous to be part of the esteemed jury & glad to adjudicate commendable artworks of the film poster designs inspired by Ray. Gratitude to all the efforts from the applicants as well as the team NFDC for this unique contest and ease of evaluation process.”

    Multi-media visual artist and academic Shukla Sawant said, “I had the opportunity to view the artists and creations while reviewing entries for this movie poster design contest, which was an absolutely wonderful experience. I am hoping that the audiences will find them equally appealing during the display. I congratulate the organizers of the 53rd IFFI for their unwavering support to the creative community.”

    The festival promotes understanding of various social and cultural ethos, as well as appreciation for world cinema, by bringing film cultures together. The NFDC received an overwhelming response to the contest, and the applicants’ level of creativity was exceptional, adhering to the contest’s theme. NFDC encourages everyone to be inspired by Ray’s work and legacy. During the 53rd IFFI 2022, the film poster designs will be on display at the Festival Mile.

  • Prasar Bharti collaborates with IIT Kanpur for direct-to-mobile broadcasting project

    Prasar Bharti collaborates with IIT Kanpur for direct-to-mobile broadcasting project

    Mumbai: Today, there is a shift in viewing habits from linear television to OTT and from theatres to OTT. The rise in content creation is leading to more and more jobs for people. With the arrival of 5G, there is the possibility of direct-to-mobile broadcasting. In a collaboration, Prasar Bharti and IIT Kanpur have come up with a proof of concept whereby, with a small attachment, there can be a direct-to-mobile broadcast. So, without purchasing data, there can be 100-200 channels streamed direct to mobile.

    Speaking at Ficci Frames Fasttrack 2022, I&B secretary Apurva Chandra said, “Without data and high-quality internet, users will be able to see high-resolution movies and listen to digital radio on their mobile phones. This change is coming. It will happen.”

    He also announced that a report on the creation of an AVGC task force will be submitted soon. He noted that there were reports on skills, gaming, education, incentives, and other policy aspects within the task force. They are all being combined and will be submitted to the authorities. He added that the report will be adopted during the course of the year.

    “AVGC is the future of this country. The best Hollywood films are being created in Bangalore and other places. AVGC will be the next great revolution like IT was 30 years ago,” he stated. Furthermore, he mentioned changing the cinematography act to include anti-piracy provisions. Also, there will be an age classification within the U/A category. The aim is to bring in amendments to the Act and put it before Parliament during the winter session.

    He further added that the AVGC centre of excellence, which has not seen the light of day over the past six years, aims to do this only in collaboration with the private sector. An in-principle decision has been taken in this regard. A total of 26 per cent of the task force will be owned by the Confederation of Indian Industry (CII), 48 per cent by the ministry of information and broadcasting (I&B), and 26 per cent by the Federation of Indian Chambers of Commerce & Industry (Ficci).

    He also said that the media and entertainment industries should target a combined size of $100 billion by 2030. He noted that during National Cinema Day, theatres were full even in the morning. That, he said, shows that you can get people to view movies in theatres as long as the ticket pricing is right. National Film Development Corporation of India (NFDC) will be the cinematic arm of the I&B ministry. The four film units will be merged into one. The film facilitation office will be revamped, he concluded.