Buzz is, Reliance Entertainment is set to shut shop after the debacle of Hawaizaada. But CEO, Sanjeev Lamba, insists they are only "taking time out for introspection"
Ankur Pathak (MUMBAI MIRROR; February 12, 2015)

A Dubai businessman saving indie filmmakers from disillusionment is the cinema lover's newly favourite star
Arpita Chatterjee (MUMBAI MIRROR; February 8, 2015)

It takes 140 characters to convince Manish Mundra to fund a film. When director Rajat Kapoor, in a moment of vexation, took to Twitter in July 2012 to announce his temporary retirement from filmmaking, he was protesting the lack of support from financiers to see Ankhon Dekhi, his latest film, through. The Sanjay Mishra-starrer took home the Best Film (Critics) and Best Male Actor (Critics) awards at Filmfare last week, but couldn't find a producer. Mundra saw Kapoor's tweet, agreed to fund the one million dollar project - again, through a tweet ('Sir, I am a huge fan, and I will produce your film') - raising curiosity all over again about who indie cinema's latest rescuer really was.

Doing the knight in shining armour act before, Mundra had made news last September by rescuing the 16th edition of the Mumbai Film Festival organised by Mumbai Academy of Moving Image (MAMI), when title sponsor Reliance pulled out. His contribution totalled Rs 50 lakh, making him the single largest contributor to the Mumbai film fest. And he isn't even a Mumbaikar.

The 41-year-old managing director of Indorama, a multi billion dollar petro-chemical firm headquartered in Nigeria, divides his time between Africa and Dubai, where he lives with his wife and 12-year-old and seven-year-old son in a penny plain apartment whose one corner is strewn with toys. The living room is fragrant with the lingering aroma of hing, speaking of a lunch of bhakridal.

"My story starts with nothing. My family lost everything when I was little," says Mundra, who sold cold drinks on the streets of Deoghar in Bihar, where the Marwari family had moved from native Rajasthan. He decided to live with his maternal grandmother while pursuing an MBA from Jodhpur University, taking over the reigns when she fell ill.

He stood first, he smiles, sipping on a cup of chai at the dining table.

Working through several firms in the Aditya Birla Group, he joined Indorama's Jakarta branch in 2002, sticking on to set up its petrochemical operations in Nigeria from scratch.

Not new to risks, his decision to back a good script is gut-driven. And it speaks of a passion he has harboured since he was a boy, running errands for his mother to shave off a few rupees to buy a cinema ticket.

This year, he plans to invest double of last year in film production. His film company, Drishyam Films, runs out of an office in Andheri with a team of six. "One or two good films a year is what I am currently looking at making," he says.

And he is open to co-productions ("it's important to share the risk, expand the span of investment and the scope of the film"), like he pulled off with Swati Shetty of Samosa Stories. The two are behind Prashant Nair's Umrika, which won the Audience award in the World Cinema Dramatic Competition section of the recently-concluded Sundance Film Festival 2015. Suraj Sharma, Tony Revolori (The Grand Budapest Hotel), Prateik and Adil Hussein star in a story about a boy who tries to save his mother from heartbreak, by fabricating letters from his brother, believed to be in America, but actually, missing. Interestingly, Shetty also reached out to Mundra on Twitter.

Dhanak, Nagesh Kukunoor's upcoming project, and Waiting, a film by Anu Menon starring Naseeruddin Shah and Kalki Koechlin are part of Mundra's 2015 final line-up which he zeroed in on after racing through close to 50 scripts. "I can afford to take a risk in cinema because I make my money elsewhere," he clarifies. "The last 20 years have seen awful cinema from India. I'm looking for stories with an Indian ethos. Which is why I am keen to go to festivals; to put India on the map of good filmmaking."

The other criteria, is Amitabh Bachchan. With Laawaris, Kala Patthar and Deewar as favourites, Mundra speaks of backing a film that stars the senior star.

The quiet confidence is what makes him a dream producer, says Menon, who recalls going into a tizzy with ideas for marketing Waiting just before it went on floors, says Mundra simply said, "You go and make the best film you can and the rest will follow."

"His ability to back you, without conditions, is what sets him apart from the others," she says.

It's his roots, believes director Neeraj Ghaywan, whose first feature film, Masaan, Mundra will produce, that draws him to stories from the hinterland. And giving back to smalltown India isn't restricted to cinema.

Mundra speaks excitedly of a school in Jodhpur that supports 280 students whose parents can't afford to educate them. His foundation, Society for Rational Development (SFORD), was set up with the idea of providing lesser fortunate kids with the best possible classroom experience.

He might be a philanthropist, but Mundra has his indulgences. Cars don't capture his fancy ("I still use a company vehicle"), but the A. Lange & Sohne on his wrist captivates his imagination like a child's. "I started with nothing. I am not afraid of going back to nothing," he says, defining Mundra's biggest strength as producer — least risk position holder. 

Mundra-backed Ankhon Dekhi (top) won the Best Film Critics award at Filmfare; Umrica (centre) took the Audience award at Sundance Film Festival this week. A still from Nagesh Kukunoor’s Dhanak (above)

Roshmilla Bhattacharya (MUMBAI MIRROR; January 9, 2015)

On Thursday, the new team of the Mumbai Film Festival organised by the Mumbai Academy of the Moving Image (MAMI) met with the Chief Minister of Maharashtra, Devendra Fadnavis. The eight-member team included Chairperson Kiran Rao, festival director Anupama Chopra, along with Karan Johar, Vikramaditya Motwane, Siddharth Roy Kapur, Riteish Deshmukh, Smriti Kiran and Seema Mohapatra. The meeting was set up by Riteish.

Speaking to Mirror, Riteish said: "We have certain ideas on how to make MAMI the cultural ambassador for Mumbai and India. Every festival, whether it's Toronto, Sundance, Berlin or Cannes, has a city identity, so why not MAMI?"

He admitted that this was just an introductory meeting with the CM to make a presentation. They plan to have many more such meetings with the respective department heads with detailed reports. "What was encouraging was that the CM was very positive. Every successful festival has the support of the local government. Government support is necessary not just because it would ensure funds but would also make MAMI more people friendly. Let the city own the fest."

Kiran Rao, the new chairperson of the Mumbai film festival, shares her plans and expectations
Roshmilla Bhattacharya (MUMBAI MIRROR; November 29, 2014)

In yesterday's Mirror, Shyam Benegal, former chairperson of MAMI, lamented about the lack of funds and is putting his faith on you to make it a cash rich fest.
I'm grateful to Shyam babu for investing so much trust in me. We've started our quest to get the right partners on board and we intend to scale up the scope of the festival.

Will you partner with Reliance, which pulled out at the nth hour this year, putting the festival in jeopardy?
Reliance has put their support behind the festival for five years. It's time to look for other options. But if they show interest, we are open to talks.

Some of the winners of the festival's competition section are yet to receive their cash prizes...
We'll make sure they get their prize. Earlier too, it was given in stages depending on when the pledged money came through. Raising funds was a real struggle this year.

This year, the audience was limited to members of the film fraternity and journalists, how do you intend to involve the aam janta?
MAMI was never restricted to an elite few. It's open to anyone interested in good cinema. This year, because of the uncertainty over the venue, issuing of passes to public started late. And that is why there were fewer footfalls. We'll rectify that.

How will you pacify SoBo regulars who are upset because the venue moved to the suburbs this year?
We have to increase screening venues and ensure that people across the city can enjoy the fest. This year, because of financial constraints, we had to stick to just three venues, all of which were in Andheri-Juhu. Eventually, we'd like one easily accessible hub, which will make the fest a 360-degree-experience. I want MAMI to move beyond cinema and theatre.

Are you looking to rope in big international names next year?
In the last 17 years, MAMI has roped in good international talents as filmmakers and jury members. That will continue. We want to make MAMI the most important festival for Indian filmmakers. We want to premiere and screen regional films from across the country.

Any lessons learnt from IFFI?
I only attended IFFI while studying in Delhi. It has an excellent film bazaar. There are 40-odd festivals in India and the bedrock of any fest is not the stars or the studios, but the quality of programming.

With you as chairperson and Anupama Chopra as festival director, its women power on show.
I don't believe we got this opportunity for our gender but because we can do the job. Women bring in their perspective to everything they do. We are looking for programmers and volunteers who have the right skill set, gender is hardly a factor.

Do you have a mentor's role planned for Mr Benegal?
He's a founding member, how can we do without him as an advisor and inspiration? It's because of him that I got involved last year. I'd warned him that with such a young child at home, I wouldn't be able to spare much time. But with the festival in choppy waters, I had to take on a bigger responsibility. I got my education in cinema from watching films at such festivals. We complain that we're not getting to see the kind of cinema we want to. It was time to put words into action. All of us are in this for our passion for cinema.

Ship of Theseus, which you presented, won awards and accolades globally. Will you collaborate with Anand Gandhi on his next?
I know what the film is about but I haven't read the script and we haven't spoken about any collaboration yet. I've seen a lot of good films this year but none have affected me enough to extend my support. Although Fandry (Marathi) was an exception. But by the time I saw it, it had released.

Buzz is, your next directorial will be set in Kolkata.
I have to first finish one of the many half-complete scripts lying around.

Is Azad interested in films?
No, the cinema bug hasn't bitten him yet. As of now he has to be content with a few cartoons. He spends most of his time outside with his friends.

Is the renovation on your old house complete?
There was talk about redevelopment; I'm clueless about what's happening. We are happy in our rented apartment.

Shyam Benegal, who has made way for Kiran Rao as the new Chairperson of MAMI, talks about the change in leadership and the future of Indian cinema
Vickey Lalwani (MUMBAI MIRROR; November 28, 2014)

He has spent the past six days watching film after film at the International Film Festival of India (IFFI) in Goa but Shyam Benegal says that he will never tire of the experience. Mirror caught up with the 80-year-old at his Tardeo office on Tuesday.

Excerpts from the interview:

How was IFFI this year?
By and large, nice. Like always, it had six to eight good films. It could have been much better.

What was the problem?
IFFI is a well-funded festival. But a festival is as good as its organisers. Now, IFFI is run by the government. They have a lot of unutilised resources.

Please elaborate...
A government-run festival has people from varied backgrounds in executive positions. And just when they start understanding cinema, their term runs out. Therefore at MAMI (Mumbai Academy of Moving images) we give officials an extended term.

Were you happy with this year's Mumbai Film Festival?
Paisa bahut kam tha. We had difficulty in finding sponsors after Reliance opted out. Perhaps, the brand did not get the mileage they expected. We had only one centre screening the films, in Andheri. It was well attended by members of the film fraternity. But where was the general public?

Why did you step down from the position of MAMI Chairperson?
Anupama Chopra (the new festival director) and Kiran Rao (the new Chairperson) showed immense enthusiasm in raising funds. They have more energy and better ideas. It was time that I got younger people on board. Stepping down was on my mind for six years. MAMI is not my inheritance; it belongs to all who love cinema.

Have you distanced yourself from MAMI?
No, I shall always remain involved with MAMI, but now I won't be attending to the day-to-day decisions. My support for MAMI is irrevocable.

Did you recommend Kiran Rao and Anupama Chopra?
'Recommend' would be a wrong word. But yes, I did mention their names to the trustees. And they deserve it.

It's been five years since you made a film (2009's Well Done Abba was his last). What's gone wrong?
Nothing has gone wrong. I will soon make a film. I decided to put my time and energy in to a TV show, Samvidhaan. It needed a lot of research and time. A show on the Indian Constitution was required.

Are you satisfied with the response it got?
Yes.

What's your take on the films of today?
I think we are making some good cinema. Some of the recent content is amazing.

And do you see any equivalents of your frequent collaborators like (late) Smita Patil and Shabana Azmi?
Zaroor honge, bas unka bahar aana baki hai. I think Rajkummar Rao is an ocean of talent. I haven't seen Alia Bhatt's work but she seems impressive. I am also keen to catch up on Varun Dhawan's work. I think Anushka has a sunshine-like smile. And I am impressed by the work of Rajkumar Hirani, Imtiaz Ali, Anurag Kashyap and Dibakar Banerjee.

Ankur Pathak (MUMBAI MIRROR; November 21, 2014)

It may seem that despite its teething troubles, it ended well for the Mumbai Academy of the Moving Images (MAMI). However the organisers of the Mumbai Film Festival continue being plagued by empty wallets.

Mirror has learnt that MAMI is once again looking for donors and corporate sponsors. Reason: It doesn't have any money left for cash prizes promised to the winners of the festival's competition section, amounting to approximately Rs 65 lakh. Only the winners in the Dimensions Mumbai category, whose prize money was Rs 1 lakh, have gone home happy.

Chaitanya Tamhane's Court which was adjudged the Best Film in the International Competition, followed by Mexican director Alonso Ruiz Palacios' Gueros, have yet to get their prize. Ditto, the winners of the India Gold section - Bikas Mishra's Chauranga and Avinash Arun's Killa.

According to a source, all the money was used for hotel and theatre bookings, and print acquisition. "Now, MAMI will have to raise funds to ensure that the winning filmmakers get their prize," adds the source.

Confirming this, festival director Srinivasan Narayanan told Mirror, "Yes, the winners are yet to receive their prizes and we are figuring how to raise this money. Hopefully, by February 2015, all the winners will get the cash promised to them."

Ankur Pathak (MUMBAI MIRROR; November 18, 2014)

The cash-strapped Mumbai Film Festival organised by the Mumbai Academy of the Moving Image (MAMI), which was practically on its deathbed this year when it was given a new lease of life by a number of cine patrons and generous donors, has revamped its organisation hierarchy for its 2015 edition. Both, chairperson Shyam Benegal and festival director Srinivas Narayanan, are stepping down. And Kiran Rao will be the new chairperson of the Festival.

The Dhobi Ghat director and the presenter Ship Of Theseus was instrumental in raising funds for this year's edition through her many contacts. Rao, along with film critic Anupama Chopra, not only supervised the logistics and planning of MAMI 2014, but also donated a sizable amount to the festival fund.

Confirming the same, Shyam Benegal told Mirror, "Yes, I am stepping down as the chairperson. Kiran is a fiercely independent and a very able lady. I realised that what was plaguing the festival was a generation gap. It needs young energy. Kiran has made some terrific contacts during this edition and I'm sure she will pull it off in the future. The same is true for Anupama who will take over as the festival director."

The multiple National Award-winning filmmaker pointed out that he had served for 16 long years and it was time to let the young guns take the festival forward. "If they feel lost at all, I'm always there to help them out," he assured.

When asked about Chopra, Srinivasan Narayanan, who has held the position of festival director since MAMI's inception, said: "We're still in the middle of a lot of paper work. In a month's time, we will have more clarity on this."

Both Kiran Rao and Anupama Chopra chose not to comment.

One of the small-budget films that I was looking forward to since a couple of years was Buddha In A Traffic Jam. The title seemed impressive and that it’s made by Vivek Agnihotri who never stays in one genre made me a lot curious about this film. Sadly, like many genuine, honest but non-masala films, Buddha In A Traffic Jam’s release seems to have been stuck probably due to lack of interest from distributors. But when I learnt that the film will be screened at the 16th Mumbai Film Festival 2014, I jumped at the opportunity and made it a point to see it, come what may. And thankfully, I made it to the screening with excitement, without knowing much about the film at all. The idea was to get entertained and get to see a sensible and meaningful piece on celluloid. And Buddha In A Traffic Jam fulfilled my expectations and turned out to be a hatke, intriguing experience!

The story of the movie: Vikram Pandit (Arunoday Singh) is a happy-go-lucky management student from a business school in Hyderabad. After his friend Pooja (Anchal Dwivedi) is subjected to humiliation at the hands of moral police, Vikram designs a campaign on facebook that turns him into an overnight sensation. It also prompts his professor Ranjan Batki (Anupam Kher) to take him under his wings and later ask Vikram’s help to raise money for the non-profit Potter’s Club, run by Patki’s wife Sheetal (Pallavi Joshi), that helps poor people living in Maoist affected areas. Vikram is unaware that his intention of helping the poor get reasonable returns for their pottery would risk his life and arouse the interest of the dreaded Maoists.

Buddha In A Traffic Jam is divided into the following chapters:
-    Prologue
-    Chapter 1: I Am A Bitch
-    Chapter 2: A Secret Game
-    Chapter 3: The Potter’s Club
-    Chapter 4: Finding Buddha
-    Chapter 5: Freakonomics
-    Chapter 6: Left Out
-    Chapter 7: Lal Salaam
-    Chapter 8: Blink
-    Chapter 9: The Tao Of Revolution
-    Epilogue

Buddha In A Traffic Jam surprisingly begins in 2000 BC where a tribal in the village of Bastar is shown cutting woods and living in a primitive fashion. The story then jumps into 2014 AD and showcases that people still live and work the same way and that nothing has changed in these 4000 years! In this simple and hard-hitting manner, director Vivek Agnihotri puts forward his point and instantly wins brownie points. The manner in which the helpless tribals are harassed by Maoists as well as the government officials is too good. The narrative then moves from the jungles of Bastar to the ‘India Shining’ zone of Hyderabad and the lives of Vikram and his pals make for an interesting watch as well. The entry of Proffesor Batki, Sheetal, Charu (Mahie Gill) add to the interest. Also, there’s nothing conventional and typical happening in the film. Right from the moral police episode to Vikram’s life at the business school to his conversations with Prof Batki and Sheetal to the entire idea of the Potter’s Club is very fresh and engaging. Hence, one joyfully gets drawn in the film and its world. The conflicts that arise in the latter half is too good and the twist in the tale comes as a bolt from the blue. The epilogue gives a fitting finale to the film.

Sadly, Buddha In A Traffic Jam isn’t without its share of blemishes. Production values of the film are a bit tacky. The idea of showing slides of images in the beginning to better explain the current situation is done with good intentions but at the same time, it gets a bit preachy. Same happens with Vikram’s speech at the student body meeting and coffee shop – it gets preachy and maybe this aspect could have been avoided. The film is realistic but towards the finale, it gets a bit filmy. It works well but the switch from realism to Bollywoodish zone is bit sudden and hence slightly unconvincing. Moreover, the entire sequence of selling pots online and the reservations around it seems a bit dated as in today’s times, online shopping has become the norm in a way. Sadly, this is the price the film will have to pay for not securing a timely release (it was shot in 2011).

Arunoday Singh is the so-called ‘main hero’ of the film and does a brilliant job. He is totally into his character and tries his best to make it look real, vulnerable and dashing. Just like Yeh Saali Zindagi, Buddha In A Traffic Jam can significantly help Arunoday to prove his worth as an actor. Anupam Kher is the second ‘main hero’ out here and stuns with his extraordinary job! It’s also a film where he has a meaty role and also the movie has something sensible to say, in the league of Khosla Ka Ghosla, Special 26, Daawat-e-Ishq and Ekkees Toppon Ki Salaami. Hence, this film probably is close to his heart and it shows in his performance. Pallavi Joshi makes a comeback in Bollywood after almost 18 years (her last Hindi film was The Making Of The Mahatma) and proves that she’s still one of the best talents around. She brings the nuances totally correct and also what’s praiseworthy is that she looks quite desirable as well. Surely, this film will help her get lot of offers in Hindi cinema. Mahie Gill has a late entry but as always, she leaves a tremendous mark. Especially in the pre-climax and finale, she delivers a stunning performance. Anchal Dwivedi (Pooja) is brilliant in the supporting role and makes her presence felt in the ‘I Am A Bitch’ episode. Gopal K Singh oozes fear as the Maoist. A performance to watch out for! The actor playing Nanhe Singh too makes his presence felt and same goes for the tribal confronted by Nanhe and the Maoist in the beginning. Asif Basra (Satyadev Dubey) is fine in the cameo.

Rohit Sharma’s music is nicely incorporated in the narrative. The most impactful of all is ‘I Am A Bitch’. If marketed well, this track can work big time! Background score adds to the mystery and thrill. Attar Singh Saini’s cinematography is raw but no complaints there. Vivek Agnihotri and Rohit Malhotra’s story is novel and at the same time, adapts itself well in the traditional Bollywood setup. It is well researched as well boasts of some interesting characters. Also, I can hardly recall any film based in a business school and hence, there’s another novelty value attached to it. Vivek Agnihotri’s direction is fair and as aforementioned, it’s great to see how he jumps from one genre to another with ease. He made his directorial debut with Chocolate and then came up with the sports film Dhan Dhana Dhan Goal. His third film was the erotic thriller Hate Story. Buddha In A Traffic Jam is in a totally different space and same goes for his other unreleased film Freedom! He falters at places but also manages to do justice to the story in hand. Also he keeps the duration in check (107 minutes). Lastly, the dialogues of the film are quite memorable are well worded and sharp. Hats off!

On the whole, Buddha In A Traffic Jam makes a very interesting comment on socialism, capitalism, Maoists, tribals, role of social media and role of students in bringing a non-violent revolution. The film is set in a business school and partly in Maoist-infected jungles and the goings-on, conflicts and its solutions are very novel and fresh for a Bollywood film and this goes very strongly in favour of the film. Dialogues are another plus and are quite memorable (Best one is, “Corruption is like a tonic to the economy”!). The film sadly gets a bit filmy in the finale and few scenes seemed preachy. Also, it’s a four-year-old film and a portion of the film on online shopping looks dated. And it’s unfortunate that the film didn’t get a timely release. Here’s hoping the brilliant response to the film at the 16th Mumbai Film Festival arouses interest in the movie. Also, Vivek Agnihotri should think of maybe coming out on a book on the film since the scenes of the film are neatly divided in chapters. As for viewers, don’t miss this intelligent piece of cinema when it releases in theatres!

My rating - *** ½ out of 5!

Anupam Kher, Pallavi Joshi & Vivek Agnihotri at Buddha In A Traffic Jam screening at 16th Mumbai Film Festival 2014

It was an experience to watch Boyhood at 16th Mumbai Film Festival 2014. As it was a festival screening, there was no interval and yet I am sure nobody got bored or tired even for a moment while watching the 165-minute-long film. The concept of the film is unheard of: it has been shot over 11 years from 2002 to 2013 and shows the growth of a young boy and girl into adulthood. The direction and script is superb and the narrative flows so naturally that it’s difficult to say that it’s been shot over 11 years and not in one go. Hats off to director Richard Linklater, who had already won my heart with the Before Sunrise and its sequels! The child actors - Ellar Coltrane and Lorelei Linklater (Richard’s daughter) – are brilliant while Patricia Arquette who plays their mother shine as well. And Ethan Hawke is damn cool and it was such a pleasure to see him on the big screen for the first time! Here’s hoping Boyhood releases in India and viewers get a chance to see this one-of-its-kind-film!

My rating - **** out of 5!

Ankur Pathak (MUMBAI MIRROR; October 7, 2014)

Ankur Pathak (MUMBAI MIRROR; October 7, 2014)

After the shift in venue, from Liberty Cinema to theatres in Andheri, was announced (Mirror, October3), a few South Mumbai residents who had paid the registration fee, asked for a refund because the festival website listed Liberty as the screening venue.

Said a resident of Cuffe Parade on condition of anonymity, “I registered thinking I'd catch some films at Liberty, like I had last year. I work in South Mumbai too and can't travel to the suburbs. So I have asked them to refund the Rs 1500 I had paid.“

An official mail from festival director, Srinivasan Narayanan, stated: “We will take a final call on Liberty on Tuesday, subject to the theatre getting octroi exemption and Barco willing to despatch the projector at the last minute. All those who want to opt out will be permitted to do so till Thursday, October 9. After this cancellations will not be permitted as we are printing the cards of all those who have registered.“

MUMBAI MIRROR (October 4, 2014)

A day after Mirror reported that MAMI (16th Mumbai Film Festival) has decided to shift its venue from South Mumbai's Liberty Cinema to theatres in the Juhu-Andheri belt, the owner of the South Mumbai theatre, Nasir Hoosein, says that they still haven't been informed about the switch.

"I read it in Mirror that we will no longer be hosting MAMI. It came as a shock because the festival administration didn't inform us, not even a courtesy call," he says adding, "Liberty is one of the most beautiful art-deco structures in Mumbai. It emits a nostalgic vibe and during the film festival, the place is buzzing with cinema-lovers. Not having a venue in South Mumbai will affect the movie-goers residing in this part of the city."

Whe we pointed out that according to the festival organisers, the shift in venue was prompted because they couldn't secure an octroi exemption on the 2K projector that had to be transported from Delhi, Hoosein replied, "We would have happily pitched in and borne the cost. That's never been a problem."

Hoosein maintains that after hosting the festival for the past few years, it was hurtful to be shown the door abruptly.

"I met the festival director during the recent press conference. That's when I realised we weren't the main venue - but at no point was I told that Liberty had been shown the door altogether," he lamented.

To this MAMI's festival director Srinivasan Narayanan said, "I did write him a mail informing him that the projector was a problem. We love Liberty as a venue and even now, we are making our best efforts to retain it. But, it looks difficult."

Ankur Pathak (MUMBAI MIRROR; October 3, 2014)

The Mumbai Film Festival which opens on October 14 has changed its venue at the last minute. Liberty Cinema, which was one of the main screening centres so far, will not exhibit the festival entries this year. Reason: It could not arrange a 2K digital cinema projector, sourced from Delhi every year.

A source told Mirror that the theatre management couldn't get octroi exemption on time, which increased the cost of transporting and using the machinery.

"Now, the organisers have booked six screens in Cinemax (Infinity Mall) and five in PVR (Citi Mall). There's one in Juhu's Chandan cinema," says a source.

This means guests too will be shifting base from SoBo to the suburbs. The dignitaries will be hosted by a Juhu five-star hotel.

Confirming the same, festival director Srinivasan Narayan said, "We were in talks with Regal cinema but things didn't materialise. Liberty is a great venue, very well-maintained, but it's not working out this year. Now, the festival will take place in the Andheri-Juhu belt."

When we asked if MAMI will lose patrons following the move to the other side of the city, he reasoned,"Those who value good cinema will travel anywhere for it. People go to Cannes and Berlin, don't they? So why not travel from Colaba to Versova?"

Liberty's manager, Errol Lobo, however maintained that he is not aware of this change in plans. "I haven't been told anything so far," he said.''

Ankur Pathak (MUMBAI MIRROR; September 30, 2014)

The Mumbai Film Festival has finally got its opening film. Mirror has learnt that the Bradley Cooper-Jennifer Lawrence starrer, Serena, will have its premiere in Mumbai on the festival's opening day, October 14.

Helmed by Danish director Sussane Bier, best known for the Oscar-winning film In a Better World, the film is an adaptation of American author Ron Rash's novel by the same name.

The American-French production is a romantic period drama set in the Depression-hit North Carolina of 1930s with Cooper and Lawrence playing newlyweds whose lives are upturned when Lawrence's titular character learns that she is unable to conceive and takes the anger out on her husband's illegitimate son.

Confirming the news that Serena will open MAMI's 2014 edition, festival director Srinivasan Narayanan told Mirror, "We wanted to start on a romantic note, so Serena, which is a gorgeous romantic period piece, became a unanimous choice. The film hasn't released anywhere across the globe as yet."

Interestingly, Serena was to feature Angelina Jolie in the lead role and was to be directed by Black Swan director Darren Aronofsky. But the project never kicked off with that pairing, landing instead with Lawrence and Cooper, who have already collaborated on two Oscar nominated films, Silver Linings Playbook and American Hustle.

When asked if the two stars will be seen in the city on the opening night, Narayanan said, "An official invitation has been extended to them and efforts are on to bring the cast to Mumbai. We will have complete clarity in the coming week. Director Sussane Bier is likely to be present for the premiere."

Anurag Kashyap, Farhan and Zoya Akhtar too chip in
Ankur Pathak (MUMBAI MIRROR; September 8, 2014)

The Mumbai Film Festival organised by the Mumbai Association of Moving Image, better known as MAMI, has got a new lease of life thanks to financial contributions by a motley bunch of city's industrialists, filmmakers and cinephiles. But the target budget is still miles away -- only Rs 2 crores of the required Rs 5 crores have been raised so far. And that's the reason the organisers have now decided to do away with its Monday deadline. They will be accepting donations till the time the festival opens in October.

Mirror had earlier reported (September 20) that when the fest's only sponsor Reliance Entertainment pulled out, industrialist Anand Mahindra (Rs 60 lakh), producer Manish Mundra (Rs 50 lakh), filmmaker Vidhu Vinod Chopra, his critic wife Anupama and his director friend Rajkumar Hirani chipped in to save the festival that has become synonymous to the country's cine-capital. Thereafter other actors like Shahid Kapoor, Kamal Haasan and Aamir Khan too lent the fest a helping hand.

The recent to pledge donations are Anurag Kashyap and Farhan and Zoya Akhtar. Money is also trickling in from various quarters—from general movie buffs to patrons of the festival based in the US, UK, France and Indonesia.

"Even filmmakers, who had showcased films during earlier chapters of MAMI, have sent cheques after learning about the cash crunch," informs a source, adding that after the organising committee's announcement, that contributions below Rs10,000 would not be accepted met with sharp criticism. The ballpark figure has been brought down to a more reasonable Rs. 5000.

Festival director, Srinivasan Narayan, informed Mirror that the State Government has given a sum of Rs 10 lakh besides providing exemption on customs and censorship.

Narayan is categorical that despite the truncated budget, they will not cut corners. "We are in advance talks with major corporates for associate sponsorships. We will also be approaching the city real estate builders," he informs.

Buzz is, a major corporate backed out because MAMI's core team couldn't put up a PowerPoint presentation on time. "That's ridiculous," snaps Narayan. "We have our presentations, a four-minute film and past media coverage ready to show at any given point. I can assure you that MAMI will arrive on October 14 without any hiccups."

Melissa D'Costa (DNA; September 5, 2014)


Shaks tweeted support saying, “Mumbai — the film capital of India — should boast of a world class film festival. Lets get together and #Pledge4MAMI.”

He joins filmmakers like Rajkumar Hirani, Hansal Mehta and Vidhu Vinod Chopra who have lent their support. An online campaign #Pledge4MAMI has gone viral, and organisers are trying their best to ensure that the 16th edition of the festival takes off in the city.

To contribute, log on to http://mumbaifilmfest.org/pledge.

Ankur Pathak (MUMBAI MIRROR; September 2, 2014)


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Bharati Dubey (MID-DAY; September 2, 2014)

With its main sponsor pulling out citing lack of profit, the 16th edition of the Mumbai Film Festival seemed to be in jeopardy.

Reports said that the Mumbai Academy of Moving Images (MAMI), that organises the fest, needs around Rs 5 crore to keep the event afloat. The latest development is that a sizeable number of filmmakers and film lovers have stepped forward to ensure that the festival takes place.

Shyam Benegal, trustee, MAMI, says, “We are keeping our fingers crossed. There appears to be light at the end of the tunnel.’’

Srinivasan Narayanan, festival director, says, “We have collected about R 1.5 crore in two days. Cinestaan Film Company, promoted by Anand Mahindra and Rohit Khattar, as also filmmakers such as Manish Mundra, Vidhu Vinod Chopra, Hansal Mehta and Rajkumar Hirani have come forward to support the festival.’’

He adds, “For the first time ever, it truly feels that the Mumbai Film Festival belongs to its patrons and lovers. I thank each and every one of those who have strived to ensure that the festival continues to present the best of world cinema to our Indian audiences.”

It may be pointed out that MAMI is still looking at raising revenue through crowdfunding. “It’s not crowdfunding as such, but we will open a contributors’ section on our website so that people can pledge support to the fest.’’

The fest gets around Rs 10 lakh from the Maharashtra government. It is slated to start on October 14 and entries from across the world have been called.

Some of the theatres where films will be screened as part of the fest include Liberty Cinema, Metro Big Cinema and PVR ECX at Andheri.

Uncertainty shrouds the 16th edition of Mumbai Film Festival, as the main sponsor pulls out
Shakti Shetty (MID-DAY; September 1, 2014)

For a city that homes one of the biggest film industries on the planet, it’s quite ironical that its premier film festival is facing an existential crisis.

Mumbai Film Festival (MFF), organised by Mumbai Academy of Moving Image (MAMI), is scheduled to run from October 14 to October 21. However, that seems uncertain given the event hasn’t attracted any major sponsor for the first time since the turn of the century.

Reliance Entertainment backed the annual event for five straight years before deciding to pull the plug last year citing lack of profit. As a result, the celebrated film fest is struggling to raise an estimated amount of Rs 5 crore that is required for the function to take place. And so far, the crowdfunding measures have attracted an encouraging response from celebs and cinephiles on social media. But still, it’s a long journey ahead and time is running out.


Last year, the festival showcased over 200 films from more than 65 countries. In 2012, Anand Gandhi’s Ship of Theseus was screened at the festival, making its debut in the country. Later, it was not only shown but was also internationally feted at several film festivals. In fact, the directorial debut finally earned a commercial release last year. No wonder Gandhi is saddened by his favourite film festival’s current state of affairs. “It’s really hurtful. I don’t understand how the corporate structure doesn’t fit in with cinema in a country like ours where everybody likes to watch movies. To me, Reliance backing off is bottomline shameful. The company is way too big to say that it’s not making profit with the film festival,” adds the director.

Gandhi has a point because in the West, corporate involvement in international film festivals is commonplace. The mantra is simple: the corporate world can do with some visibility that cinema tends to offer on a plate.

Blame game
Regardless, it’s difficult to blame any one party for the issue. The argument doing the rounds is how the Hindi film industry, which boasts of Rs 100 crore blockbusters, can do a lot more to sustain a cultural event. Moreover, Rs 5 crore seems like a meager amount when you look at the extravagance that Bollywood is so used to. But then, the other side of argument is it’s not incumbent on film studios to help run a film festival.

The United States of America, which boasts of the most number of film festivals in the world, sticks to the corporate structure. However, organisers are generally headed by independent bodies — not film studios — who have the final say in everything, from which films are to be screened to who is going to win the awards.

Speaking of awards, out of its estimated budget, Mumbai Film Festival spent about a crore on handing out prize money to the competition winners.

Putting value
Filmmaker Rohan Sippy is a self-confessed fan of the Mumbai Film Festival. He fondly remembers the inaugural year of the fest. Back then, he assisted his father, filmmaker Ramesh Sippy, with the first edition. And he too disapproves of the dismal situation. “In an ideal world, sponsors would be queuing up considering the pull movies have in our day-to-day life. Unfortunately, that’s not happening.”

Early bloomers
To put it succinctly, the Mumbai Film Festival is not just about providing a week-long visual treat for the aam janta. Many a times, Indian filmmakers, whose works are appreciated worldwide, get a chance to showcase the same to the local crowd. For instance, Ashim Ahluwalia’s Miss Lovely won multiple awards, including Best Film in the India Gold category at the 14th Mumbai Film Festival. This happened a few months after his film was screened at the Cannes Film Festival.

Ashim talks about what might be the crux of the financial problem: “Whether it’s Cannes or Venice, money is a major ingredient but at the same time, patience is a priceless commodity, too. We ought to have patrons because it’s not just cinema we are talking about here. Culture is also a matter of concern, isn’t it? The corporate world doesn’t seem to understand this.”

Support base
Last year, The Lunchbox made a lot of headlines not only in India but also in foreign shores. Interestingly, the celebrated movie wasn’t screened at the Mumbai Film Festival.

However, the film’s leading actress, Nimrat Kaur, has been an regular attendee of the festival for quite some time now. “If it weren’t for this film festival, I would have missed out on some really good uncensored films. Of course, in today’s age, one can download to watch these acclaimed films but what can replace the thrill of watching them on the big screen?” asks the actress.


Regional fare
Some of the finest regional films have been showcased and appreciated at this fest. Last year, the Marathi feature film, Fandry, received a lot of accolades for its grim but honest portrayal of class divide. It was screened for the first time in India at this fest; later on, it won an award in the international film category as well. The film’s ensuing journey culminated with the film earning a commercial release this year on Valentine’s Day.

Director Nagraj Manjule is hopeful that the 16th edition goes ahead as per plan and manages to run with as fewer glitches. “Regional cinema can flourish thanks to festivals such as these — it’s a boon, especially for regional filmmakers. They watch and inculcate values and lessons that will shape their thinking as filmmakers.”

Umesh Kulkarni (right), whose films, Vihir (2009) and Deool (2011), were screened at the festival, agrees. “I hope the film festival goes ahead. It’d be a huge loss to the society; it’s not just about money. A festival nourishes both filmmakers as well as the audiences and you can’t put a price tag to that accomplishment,” he points out.

History repeats itself?
In 1998, the second edition of the festival couldn’t take place due to lack of funds. However, the event took place the following year and hasn’t skipped a single year since. “I hope they manage to pull it off this year. To me, it is more about the cultural pluses than the commercial minuses. The event needs patrons and sponsors, and if it works out, well and good. If they don’t, they should at least aim at coming back with a bang next year,” says filmmaker Rohan Sippy.

Bharati Dubey (MID-DAY; April 21, 2014)

It has emerged that Reliance Entertainment will not be sponsoring the 16th edition of Mumbai International Film Festival (MIFF) that is going to be held later this year.

Filmmaker Shyam Benegal, the chairman of Mumbai Academy of Moving Images (MAMI), which organises MIFF, tells hitlist , “We had a five-year contract with Reliance which ended last year. Accordingly, we will have new sponsors this year. Unlike earlier when Reliance wanted to be the only sponsor, this time, we will have multiple sponsors who will come on board.” MAMI was started in 1997 by a group of film personalities headed by the late Hrishikesh Mukherjee. It aimed at organising an annual international film festival that would bring together good cinema from across the country and the world — all under one roof.

It may be pointed out that over the last few years, this fest has attracted a wide variety of films, including those that have done the rounds of the Berlin, Cannes, Sundance, and Toronto film festivals.

Some of the international film personalities who have attended this festival include Na Hong-jin, director of the film, The Chaser; Paul Schrader, writer of the film, Taxi Driver; filmmaker Oliver Stone and Costa Gavras, director of the film, Z.

Speaking about their exit, Sanjeev Lamba of Reliance Big Entertainment says, “Our main aim was to put the fest on the international map. And during our five-year contract, we have done just that. Now it for those who come on board to take it further; Amit Khanna, who has been involved with the festival right from the beginning, will continue to work with the organisers.”