CANNES DO: Shyam Benegal’s Nishant was selected to compete for the Palme d’Or in 1976. Shabana Azmi, who starred in the movie, said the director had asked them to walk up and down the promenade at Cannes, wearing saris and coaxing pedestrians to watch the film

Taken in by the ‘screened at Cannes’ tag? The truth is that no Indian feature film has made it to the prestigious competition section in 24 years
Sonam Joshi (TIMES LIFE; May 27, 2018)

For more than seven decades, the who’s who of the film world — and lots of wannabes — have been heading to the French Riviera in May for the biggest event of the year: the Cannes Film Festival. Besides photos of Bollywood stars on the red carpet, the Indian press is full of headlines that declare that India is creating a “splash” or “shining” at Cannes.

Social media feeds of some directors and producers also proclaim that their movies are showing at Cannes. The reality is that it’s been 24 years since an Indian feature film made it to the festival’s ‘In Competition’ section. Kerala filmmaker Shaji Karun’s Swaham, the story of a young widow who loses her son in a stampede, was the last to make the cut in 1994.

So when filmmakers boast of ‘showing at Cannes’, they’re actually talking about the cluster of events held alongside the festival. These include the Cannes Film Market or Marché du Film, one of the world’s largest movie marketplaces.

In fact this week, filmmaker Vivek Agnihotri was called out for making misleading claims when he tweeted about a standing ovation for a screening of his forthcoming film, The Tashkent Files at Cannes. Agnihotri’s film was screened at the India Pavillion, curated by the information and broadcasting ministry at the Cannes Film Market every year, and not in the official competition lineup. Responding to the comments on social media, Agnihotri said he’d just retweeted links to news reports about his screening, and made no such claims. “How they frame their headlines is their prerogative. We are proud of our film and enthused with the overwhelming response it got. People can criticize whatever they want,” he said.

Veteran Cannes visitors point out that the lines between films that are officially selected for the festival and those promoted in the market are often conveniently blurred because of the exclusivity of the festival, which has launched the careers of many prominent filmmakers like Quentin Tarantino and Steven Soderbergh.

“It is the most prestigious film festival in the world,” says film critic Anupama Chopra. “It occupies a space in the Indian imagination because of its glamour but there isn’t a real understanding of what the official section is.”

Besides the competition section in which movies compete for the top prize, the Palme d’Or (Golden Palm), there is also Un Certain Regard for films with an “original aim and aesthetic”. This year, for example, Nandita Das’s biopic Manto was in Un Certain Regard, while another film, Rohena Gera’s Sir, was shortlisted for the sidebar, International Critics’ Week.

Film critic Gautaman Bhaskaran recalls seeing newspaper advertisements of films that had supposedly “premiered at Cannes”. “It has one of the biggest film markets where you can sell or promote your film. There are several small auditoriums that you can hire to screen your film, but it is not a part of the Cannes film festival unless it is an official selection.”

While anyone can screen a film at the official market, it means little in terms of prestige. “There are hundreds of films screened at the Cannes market, so it is not a stamp of quality,” Chopra says. More than 12,000 producers, distributors and sales agents, all looking to sell and buy movie rights, are at the market. With such a crowd, it is difficult to stand out though there are exceptions. “People saw and loved The Lunchbox, which was in one of the sidebars,” she says. “The sales agents have to see the film and love it.”

François-Xavier Durandy, who subtitles Hindi films in French, cites the example of two short films Asthi and Pournami, which were reportedly selected for Cannes, but were in fact part of the Short Film Corner. “Registering a film at the Short Film Corner, which is basically a market, is not the same feat as being selected at the festival,” says Durandy. “Two weeks before the festival, I got a message from the father of a young actor in one of these films expressing hope that his son would win an award. There are no awards at the Short Film Corner, Marché du Film or Directors’ Fortnight.”

So why doesn’t India, which produces a record number of films, make the Cannes cut? While Durandy blames it partly on substandard subtitles, Bhaskaran says that though India has great stories and a storytelling culture, “we don’t know how to present these stories to an audience that may or may not be familiar with the Indian milieu and way of life.”

Chopra, who was part of the Un Certain Regard jury in 2008, has her own take. “Mainstream films aren’t screened because filmmakers don’t want to expose the film before its release in India, while independent films are competing against the best in the world,” says Chopra. “I’m hoping someone cracks the main competition soon.” Till then, it’s more about the fashion than the films.

Daler Mehndi rips into the current crop of Punjabi pop singers for projecting a false image of the state
Jaspreet Nijher (BOMBAY TIMES; May 26, 2018)

At this year’s Cannes Film Festival, on May 11, as the Indo-Hollywood production 5 Weddings premiered, one person who was beaming in absentia was singer Daler Mehndi. He has rendered the title track U U Yeah in the film starring Bo Derek, Nargis Fakhri, Rajkummar Rao and Casey Clark. “I couldn’t have been happier. Even if I couldn’t make it to Cannes, my voice was there,” says Daler, whose costumes have also found place in a recently opened interactive music museum launched at Bengaluru.

The veteran pop singer seems to be doing a lot of title tracks of late — he has sung the title tracks of at least four upcoming Bollywood film releases. Giving credit to his classical training that still holds him in good stead in the sea of younger, pop singers, Mehndi says the base of his music since childhood was Gurbani. “I don’t know why music directors are giving me title tracks, but I do think that it’s my strong base from the formal music training, and roots in Gurbani, the ragas, qawwali, Sufi, ghazals that have held my music since the last 19 years.”

Daler’s track Tunak Tunak Tun in 1998 was one of the first in the genre of Punjabi pop music. When asked to comment on the current scenario, he comes down sharply on the new generation’s disregard for the soul of music. “It is sad that for a state that is heavily into music, modern singers are exploiting lyrics to portray an image of Punjab that is false. Daru, kudiyan, bandookan, gadiyan…is that all Punjab is about? To those who don’t know this state, the image broadcasted through music is this,” rues the singer. He also points out another paradox when he says, “Though Punjabi music production is highest among regional music, unfortunately Punjabi films don't sell on their music, like Bollywood does.”

Calling modern singers ‘copycats’, Mehndi says, “We have a generation of copycats now, busy sending out images of being cool dudes, wearing fake imitations of brands, being high on drugs, and gathering fake online views.” Despite modernity, the singer says he is proud of his signature style. “The only thing different about me was the weight I had gained over the years. I had gone from 72 kgs to being 92. But now, I have shed that too and gone back to my weight of 25 years ago,”

Mehndi laughs.

Rachana Dubey (BOMBAY TIMES; May 24, 2018)

Four vivacious, bold, strong and fashionably correct women speak their mind unabashedly in Veere Di Wedding. With this film, Sonam Kapoor Ahuja set off on a journey with her sister Rhea Kapoor, and friends Kareena Kapoor Khan, Swara Bhasker and Shikha Talsania, with able support from producer Ekta Kapoor, to narrate a comingof-age story about women in different stages of their lives. In a conversation with BT, the newly-wed leading lady talks about how a film like this is a step towards changing mindsets, the misconstrued ideas of feminism and how she has made her stand on marriage and work fairly clear.

It’s just been two weeks since your wedding. Now that all the celebrations and ceremonies are done, is the feeling finally sinking in?
Yes, it’s been two weeks aur itne mein toh kuch pata nahi chalta. Meri toh mehendi bhi nahi utri hai abhi tak. Right after my wedding, I also went to Cannes and that was a lot of fun.

After a hectic wedding schedule, you went back to work right away and it seems that you will get a break only after the release of Veere…
Tell me about it; I am fatigued. Imagine my poor sister (Rhea). She was planning my wedding and the release of this film. It’s really exhausting. I have also made my stand on marriage and work pretty clear. Cannes is a lot of work, but it was going back to a familiar territory, which sort of calms you after something distinct has happened in your life. The lehenga that I wore over there was designed for my wedding reception that we didn’t end up having here. It looked good with my mehendi.

The Veere Di Wedding journey has had many ups and downs. How did you manage the production for so long? It must have been exhausting…
My sister had this idea of doing a coming-of-age film with four women, who are friends, across age groups where one of them is getting married and others are at different stages of their lives. About four years ago, after Khoobsurat (2014), Rhea roped in a writer duo to put the script together. Director Shashanka Ghosh was on board too. The film was written with Kareena, Swara, Shikha and me in mind. So, when Bebo got pregnant, Rhea was like ‘now what?’ Bebo said, ‘Take someone else’ which was not possible. We even tried incorporating her pregnancy into the script, but it didn’t work. The film has been through several things simultaneously, but as they say, all’s well that ends well. Look, we set out to make a film about friends and we couldn’t have worked with someone who wasn’t a friend. Since I know the girls so well, we didn’t have to work too hard on the camaraderie. Through this film, we have touched upon a lot of topics, but in an entertaining manner. Firstly, this is about four women who are not chasing the same man. Like men, even women get divorced; have to deal with sexism and commitment-phobia among other things. People should watch the film for entertainment, but also understand what is being said.

It’s not common to see four women leading the charge in a Bollywood movie. There’s no A-list male hero either. In that sense, your film is breaking many moulds…
Like Neerja (2016) and more recently Raazi (coproduction between Junglee Pictures and Dharma Productions), hopefully Veere… too will do well and we won’t have to talk about this anymore. We won’t have to discuss the sex of the lead cast. Unfortunately, it is a point of discussion today because of the way things have been. I mean A-list actresses like Katrina Kaif and Kalki Koechlin were a part of a boys’ film, Zindagi Na Milegi Dobara (2011). Preity Zinta was on top of her game when she agreed to a Dil Chahta Hai (2001), but we don’t have A-list heroes in our industry who agree to do good films like Raazi, Neerja, Raanjhanaa (2013), Khoobsurat or even a Veere Di Wedding. No one said yes. I don’t think they have the confidence to do that. My father (Anil Kapoor) did films like Beta (1992) with Madhuri Dixit and Laadla (1994) with Sridevi, but I haven’t seen anyone do that. He’s a different kind of person. He raised me to be a feminist. When I came into the industry, I was shocked with the way things were. I was raised very differently. My parents never made me believe that I was any different from my brother. When I came here, I saw we were not paid the same amount as the hero, and not given the same kind of rooms as the leading man. People had that ‘Woh hero hai’ mentality. In the 11 years that I have been around, things have changed, yet there is a lot of change that needs to happen.

Owing to your upbringing, are actresses like you becoming the game changers in the industry?
You know what? When my sister and I made Aisha (2010), we didn’t even realise that a film like that had never been attempted. If it had crossed our minds, we would have been really scared. Rhea was 21 then and I was 23. No one took us seriously, because they thought we were making a stylish film about three women and no one was even dying in it. To this day, people walk up to me and tell me that they liked Aisha, but at that time, only women gave it good reviews. After Aisha, I saw people react to Khoobsurat with a changed mind set. Today, even men are excited to watch a film like Veere Di Wedding. I know for a fact that even back then, men, however discreetly or in a closeted manner, enjoyed Aisha.

They were just ashamed to say it. Ditto with the intellectual women. It’s like heroines who were scared to admit that they are feminists because they probably think they need to grow a moustache and burn their bra. Some women think being a feminist will make them undesirable. Some people think that a welldressed and glamorous woman can’t be smart. Why is there a difference between being smart and dressing up? There are so many fashionable, beautiful and intelligent women around the world — from Frida Kahlo to Audrey Hepburn to Cate Blanchett. Beauty can be and should be celebrated. Don’t be ashamed of your womanhood because a man has put some ideas into your head.

In today’s time, feminism seems to be a misconstrued concept. For instance, just recently you were trolled on social media for adding Anand’s last name to your name. This is no indication that you are not a feminist; it is just a matter of choice.
Exactly! Having your father’s last name is patriarchal in itself. Anand decided to add my name in the middle of his and I decided to add his last name. I’ve chosen to keep both the family names instead of choosing one over the other. And trust me; this was not an impromptu thought. People didn’t know, but I was engaged for a year and we have thought this through. Why should I explain my choices? Feminism strictly means equal opportunity and the right to make a choice. I understand there are barriers to be broken. The day you stop taking your father’s name is when things will begin to change. But that’s a long way to go.

Do you think films like these will open conversations for men and women on these subjects?
It’s important for women to own up to what they like and don’t like without the fear of being judged. Look, a lot happens around us because of our general conditioning. We ask a woman if she’s slowing down after marriage or having babies. Do we ask a man that? Look at Kareena! We come from different schools of filmmaking, but I respect the fact that she started out in the early 2000s and has done an array of work, including films like Chameli (2003) and Ki & Ka (2016). She’s worked like crazy even after marriage and having a baby. We didn’t ask Shahid Kapoor if his life slowed down because of marriage or babies. I went to Cannes immediately after my wedding, which was just an extension of my state of mind.

Late actor honoured with the TITAN Reginald F Lewis Film Icon Award at France event; filmmaker Subhash ˆGhai accepts honour on her behalf and shares his experience of working with her
MID-DAY (May 19, 2018)

Late actor Sridevi was honoured with the TITAN Reginald F Lewis Film Icon Award at the ongoing Cannes Film Festival. The award traditionally celebrates women of the film industry from all over the world, and also salutes the multi-cultural impact on the world of cinema.

Veteran filmmaker Subhash Ghai and producer Namrata Goyal received the award on behalf of Sridevi's family. Ghai shared a few photographs of himself while receiving the award, on Twitter, and captioned one: "It was honour to receive the award on behalf of legend Sridevi Kapoor at Cannes Film Festival yesterday for her outstanding contribution in Indian cinema and shared my experience with impeccable inimitable actor to western audience hosted by Titan Reginald F. Lewis film honours (sic)."

Sridevi's producer husband Boney Kapoor said he and daughters Janhvi and Khushi were overwhelmed with the recognition, tributes and love that the actor has been showered with. "Janhvi, Khushi and I are overwhelmed with the recognition and tributes and love of millions of her fans being showered on her. Her work and life has touched so many hearts across the world and she has been an inspiration to millions. She will live forever, thanks to her body of work," the actor's husband, producer said in a statement.

Sridevi died in February due to accidental drowning in a Dubai hotel. She was feted with a posthumous National Film Award for Best Actress in appreciation of her performance in her last released film Mom.

Nayandeep Rakshit (DNA; May 17, 2018)

Around 10 days ago, Sonam Kapoor tied the knot with Anand Ahuja in a grand wedding. But unlike most couples, she didn’t take a break. The actress decided to jump straight into work and sashayed down the Cannes red carpet as the face of a beauty brand that she endorses.

In a tête-à-tête with After Hrs, the fashionista shares her views about the pay disparity issue, being comfortable in her skin and why changing her name post marriage is a personal choice. Excerpts...

You dived into work post your wedding...
Yes. There has been a whole revolution with the #MeToo campaign where women are standing up for what they think is right and are asking for the respect they deserve. The team of L’Oréal Paris resonates the same thought I have and they made sure that I was there, representing the brand, and women of worth on the red carpet. I’m also representing Indian women who know that they should work, regardless of anything.

You’ve been vocal about the issue of pay disparity here. What was the discussion at Cannes like?
It’s quite sad that women have to go through this. The world over, there’s a certain misogynistic and patriarchial mindset that needs to change. When a woman is in a position of power, she’s expected to be aggressive, or masculine. But the moment she says she deserves a certain kind of money and treatment at work, she suddenly becomes undesirable. We need to fight that mindset. If a man says that this is what he deserves, he will never be questioned. Women should collectively fight for this issue. I have been trying to do it since the beginning of my career.

This time, you were at Cannes as Sonam K Ahuja. How did your hubby, Anand, find your outfits?
He liked them a lot (smiles).

Was there pressure because people were looking forward to your wedding outfits and now your Cannes appearances too...
Women need to stop exerting that pressure on themselves. I’m enjoying myself and wearing things that I like to wear. I don’t think about what other people think of my dresses which is why I have a good time on the red carpet. I just want to be myself and that’s what young girls identify with. It’s not about my clothes, but the attitude that I carry myself with.

How special is the red carpet post marriage?
It’s the same thing. Life doesn’t change much after marriage. It doesn’t change for a man. So, why should it be different for a woman where work is concerned?

There were reports of you moving to London...
Nobody noticed, but I’m always in London (laughs). I am there for four-five months and then, in Mumbai. So, it’s going to be the same.

You must be excited about your home production Veere Di Wedding?
It’s a commercial film, so it should do well. It’s a fun film and I hope people are looking forward to watching it.

Actresses like you and Anushka (Sharma) got married when you are at the top of your game. Do you think times are changing for actresses in that respect?
People are still asking me these questions, which is sad. I don’t know if it’s changed that much. I know that Kajol, Dimple Kapadia, Nargis, Nutan and Waheeda Rehman have continued with their career post marriage. In fact, Madhuri (Dixit-Nene) did Devdas after tying the knot. But it’s still a long way to go. And we, as women, need to come together and be stronger. The choice shouldn’t be taken away. I hope to set an example by coming straight out of my wedding and doing what I do best.

You changed your name after the wedding and received a lot of flak for it...
I’ve always maintained that I’m a feminist. I have a choice to change my name when I want to do it. The fact is that Kapoor is also my father’s surname. So, I chose to keep both. And just to be a part of our family, Anand has also changed his name. But nobody wrote about that! My husband or his family has not asked me to do anything. Likewise, he did it on his own. We anyway take our father’s names, so if we can give that respect to them, we can give the same respect to our husbands, too. It’s my personal choice and somebody judging me for it is ridiculous.

Back at the Cannes red carpet within a week of her shaadi, Sonam speaks about it all - work, wedding, women power and of course, husband Anand Ahuja
Mohar Basu (MID-DAY; May 17, 2018)

After her elaborate wedding functions last week, Sonam Kapoor Ahuja flew down to Cannes to honour her professional commitments. In her first interview post marriage to Anand Ahuja, the actor told mid-day that she hopes to set an example with this move. "Kajol and Dimple Kapadia worked post marriage. Madhuri [Dixit Nene] did Devdas (2002). Many actresses worked post marriage, but I am not sure that change is as evident yet. I hope to have set an example by coming straight out of my wedding to work. Women should always have the choice to work or not. I am so happy to be here, with L'Oreal, representing what Indian women stand for — we work and we stand up for what we believe in," said Kapoor.

Though a firm believer in the institution of marriage, the feisty actor said she doesn't understand why one's professional life should take a backseat for it. "Life remains the same after tying the knot. Women need to stop thinking that marriage is life-altering. If it doesn't change a man's life, why should it change anything for a woman?"

Her decision to change her name on social media to Sonam Kapoor Ahuja had her fans divided. "Just changing my name doesn't make me any less of a feminist. Kapoor is also my father's name, a man's name. I wanted to keep both my identities. It was my personal choice. Somebody judging me for my choice is like challenging what feminism stands for," laughed Kapoor, amused at the various interpretations that the term has acquired.

A regular at the Cannes red carpet over the past few years, Kapoor wowed fashion critics when she stepped out in a Ralph & Russo ensemble, complete with the hennaed hands of a new bride. When asked what her husband had to say, she gushed, "Anand loved what I wore. I have always worn things that I want to wear. I never spare a thought about what others think of it. It's the attitude you carry it with that matters."

There have been rumours of her shifting base to London. "I have been shuttling between Mumbai and London for the past two years. It seems no one noticed this so far. My life isn't going to change much; what has been happening for the past two years will continue."

Lasyapriya Sundaram (BOMBAY TIMES; May 17, 2018)

Huma Qureshi’s first appearance at Cannes Film Festival happened six years ago, when she made her acting debut with Gangs of Wasseypur. The film was screened as part of the Directors’ Fortnight section at the prestigious festival. This time around, Huma visited Cannes as part of the Government of India’s contingent of artistes, who were there to talk about independent cinema. BT caught up with the actress and got her to talk about her recent sojourn to the French Riviera, fashion, films and the #MeToo campaign. Excerpts…

Did your sartorial choices for Cannes play out the way you envisaged? Also, in today’s day and age, do you think that it’s important for an actress to be a fashionista as well?
We barely had two weeks to put it all together. I was new to the red carpet game and didn’t want to compete with anyone. Some of my Indian designer friends went out of their way to make some exquisite clothes for me. It was very confusing, because people were giving my team all sorts of advice, but eventually, we followed our instinct. I completely trusted my team’s vision. Fashion is definitely important, but my aim was to enjoy the festival. I think that reflects in the pictures, too.

While you spoke up about sexual harassment at work in Cannes, many of your contemporaries talk about it as something that happens to others. The way the West has taken on the issue head on, are you hopeful that it will ever happen in the Indian film industry? Also, do you think that men, too, should join the fight against sexual harassment?
We are yet to be as open as Hollywood actresses in terms of addressing sexual harassment at workplace. But, I do hope that changes. The battle against sexual harassment has to be fought both by men and women. A #MeToo moment is welcome, but I think women fear backlash in our society so much that they would rather not come out. We must create space and security for women to speak out against sexual crimes.

As an artiste, what does the Cannes film festival mean to you? Did you manage to catch some of the films in competition?
Cannes is a mix of films and fashion. It gives filmmakers from across the world an opportunity to showcase their artistic brilliance. I hope there are more film festivals like this, not just in other parts of the world, but also in India. I didn’t get a chance to watch too many films, but I watched Manto. I love Nandita Das as an actor, and I knew that she would make an excellent film. Manto’s story is relevant even today. I also met Rima Das, who has made Village Rockstars (Won this year’s National Award in the Best Feature Film category). I missed Asghar Farhadi’s Everybody Knows, which I was keen on watching.

Your upcoming film (Kaala) is opposite Rajinikanth. Tell us about your experience of sharing screen space with him... Was learning Tamil a difficult task?
Working with Rajini sir is a dream come true for any actor; it was a humbling and learning experience. Not only is he immensely talented and professional, but also a warm person. Learning Tamil was challenging, but the team was supportive and helped me a great deal. I would converse with them in Tamil and that made it easier to pick up the language.

Nayandeep Rakshit (DNA; May 15, 2018)

From her first official appearance in a sequinned off-shoulder dress to a dramatic red carpet entry in a butterfly-inspired ensemble followed by a shimmering ivory gown, Aishwarya Rai Bachchan has made heads turn with her sartorial choices at the ongoing Cannes Film Festival. Amidst her frenetic schedule, the actress spoke to us via Skype, straight from the French Riviera.

In the half-an-hour conversation, Ash chatted about her long association with the festival, her 15th red carpet walk for beauty brand L’Oréal and discussed films as well as fashion.

This is your 17th year at Cannes...
It’s been an incredible journey. I’ve so many wonderful memories. These last 15 years with L’Oréal have been great and I’m grateful to them for getting me to meet some wonderful women from our industry. We didn’t get too much time to spend with each other, but it still left an impact. To actually get to meet them in person and experience that we are one team accelerates the idea because of which I came on board. From ‘I’m worth it’, it was ‘you’re worth it’ and now, it’s ‘we’re worth it’. This has got a deeper meaning for me. This is a cosmetic brand and people believe we are always talking about skin care and fashion, but it’s a lot more than that. It’s about making women stronger and helping them believe in themselves. Shringar has been a part of our mythology, of being who you are as men and women. All of us need to first free ourselves of judging each other. Everyone has their own choices and we, as women, need to stop judging other women. If you do a lot of shringar, it doesn’t mean that you lack substance.

Have you ever felt people in the industry didn’t take you seriously because of your looks?
Fortunately, not. I’m thankful for that. The media has been there for me, right from the beginning. Along with that, I’ve worked with great talents from the time I started. I interacted with Mani (Ratnam), Yash ji (Yash Chopra), Rajeev Menon, Adi (Aditya Chopra) and Subhash ji (Subhash Ghai) so early in my career. My choices spoke to my audience. These filmmakers didn’t choose me for my physicality. They wouldn’t risk their career for it. My interviews took away a lot of pre-conceived notions, ideas and judgment. I have been school-girlish with my approach and choices. I was good at keeping with schedules. I would be sincere because of which sometimes, I just walked out of some great films. Maybe, I should have been fierce and allowed the schedules to just figure themselves out, as I saw with a lot of my colleagues who worked over the years.

How do you take the constant fashion policing that comes with your appearances?
That’s a part of being on a public platform. If you’re talking about the comments — whether it’s about the immense praise or critiquing — that’s just part of being a celebrity. That’s fine because it goes with the turf. I’m very easy with it. I don’t diss it or disrespect it. Experience is the best teacher, after all.

This year, you have Fanne Khan coming up...
Yes. I don’t care if it’s a character, a leading lady or a glamorous part. People forget I did Iruvar (1997) right in the beginning of my career. I played Shah Rukh (Khan)’s sister in our first film together (Josh, 2000) and I never had issues. I’m doing Fanne Khan because I like the larger idea of the film. There’s a girl who looks up to this pop star, which is played by me. But sometimes, when we idolise someone, we forget that they, too, have a real side to that person. We shouldn’t judge people on what actually are frivolous ideas. It’s important for me as a star to come out and speak about such issues in today’s day and time.

We rarely see a film with only big actresses. Have you and other heroines ever discussed doing a project like that?
We would love such scripts to be out there and presented to us. Maybe, I’m speaking for the whole fraternity. When we can sit collectively and discuss this, it will be a great experience. Everyone could give in their opinions. Over a period of time, men and women are happy to go with the true world of films and break away from the frivolity of wanting to just cling on to stardom or adages that come with the turf. I would like to believe that’s the reality. In my case, because I came into cinema from Miss World, I had the blast of stardom early on. I had made choices not consciously, but just being myself. I ended up doing my own thing and didn’t follow career patterns that existed before or after. I didn’t have the natural trajectory of a leading lady, which is why people believe I’ve changed a lot of pre-conceived thoughts. I never thought I’d get married in the middle of a movie. So, the poster had me as Aishwarya Rai and when the film released, it was Aishwarya Rai Bachchan. I’m glad the way it panned out because there was never much ado about it. Recently, a colleague asked me, ‘Why did you choose Jazbaa? Is that the comeback vehicle you wanted?’ It was just an idea, I liked the script and went by it. I don’t want to go by the book and be told how and what should be done. When I was joining Instagram, people were discussing what my day one numbers would be like. Do I look like that kind of a person? I don’t plan things to gain momentum or numbers. I don’t have that insecurity.

Would you be comfortable doing a web series?
Ideas were always there. Like about 10 years ago, people wanted to come up with a series on television and now, on hindsight, I should have probably dived in and it would have been the best venture in that space (laughs). It was around the time I got married, so I wanted to balance a lot of other things in life. The whole digital revolution is great because it goes on to show how creativity has taken over and helps everyone explore different avenues. I certainly have. The more we do that, the more excited our lives will be.

Sashaying down the red carpet of the prestigious festival for the 17th year as the ambassador of L'Oreal Paris, Aishwarya Rai Bachchan wowed fashion critics with her outing in a Michael Cinco gown
Sonil Dedhia (MID-DAY; May 15, 2018)

With her latest appearances at the Cannes Film Festival, Aishwarya Rai Bachchan showed why the title of one of the world's most beautiful women rests deservingly on her shoulders. Sashaying down the red carpet of the prestigious festival for the 17th year as the ambassador of L'Oreal Paris, the actor wowed fashion critics with her outing in a Michael Cinco gown, followed by the dreamy Rami Kadi creation. However, Rai said she doesn't understand the judgment that goes hand-in-hand with such outings.

"Shringaar [here, dressing up] has been part of who we are. It's an individual choice and people need to stop judging each other," said Rai. Though she has been having a good run at the style central over the past few years, it hasn't been a cakewalk for her — the fashion police had come down heavily on her during her missteps in the initial years at Cannes. When asked how she deals with the criticism, she said, "There can be immense praise or criticism, which comes with being a celebrity. I don't disrespect it, but it doesn't spear through my heart."

With her Cannes commitment behind her, Rai is now expected to get back in the thick of things. Reports suggested that she would team up with Prernaa Arora's KriArj Entertainment for three films — Jasmine, and the remakes of Raat Aur Din (1967) and Woh Kaun Thi (1964). However, Rai insisted that she is yet to give her nod to them. "After I was given a narration of Jasmine, I requested the team to rewrite a few things. So we'll see where that goes. Woh Kaun Thi and Raat Aur Din remakes are fabulous ideas. Once I return from Cannes, I will sit down with the team and understand how they want to remake the films. Only then will I take a call."

Sonam Kapoor landed at the French Riviera yesterday, and attended a gala dinner hosted by the NGO, Positive Planet Foundation
Mohar Basu (MID-DAY; May 15, 2018)

Festivities continue for Sonam Kapoor Ahuja. Barely a week after her wedding, the actor travelled to France to be part of the Cannes Film Festival. She landed at the French Riviera yesterday, and attended a gala dinner hosted by the NGO, Positive Planet Foundation.

A source close to her tells mid-day, "Sonam was the guest of honour at the gala, which included a contemporary art auction orchestrated by renowned Swiss art collector Simon De Pury. The proceeds of the auction will go towards the NGO's programmes for women's empowerment in Sub-Saharan Africa, Middle East and priority neighbourhoods in France."

Since this year marks the NGO's 20th anniversary, Kapoor donated an outfit from her personal collection and had dinner with the highest bidder. "Since the NGO has done inspiring work for the last 20 years, I wanted to support and encourage them to undertake more noble endeavours [to alleviate female poverty]," says the actor, who returns to India on May 17.

When contacted, Jacques Attali, president, Positive Planet Foundation, says that they decided to have Kapoor as the guest of honour because of the impactful roles she's done in films. "She has managed to bring colourful and unforgettable characters to life. She is an inspiring, engaging and positive personality. We were honoured to have her."

Manto actress Rasika Dugal on being a part of the silent protest against gender disparity led by jury head Cate Blanchett at the ongoing Cannes Film Fest
Roshmila Bhattacharya (MUMBAI MIRROR; May 15, 2018)

Months before the New York Times blew the lid off disgraced Hollywood mogul Harvey Weinstein’s sexual harassment scandals last year, sparking a worldwide call for safer spaces for women and gender equality in the workplace, Jessica Chastain, a jury member at the Cannes Film Festival in May, had voiced her concerns about the lopsided representation of women — both behind and in front of the camera — in the films she had watched at the fest.

This year, presumably as a direct consequence of Chastain’s widely reported observation and the ‘Me Too’ movement in the post-Weinstein era, the jury for the main competition at the ongoing 71st edition of the film festival boasts of five women on a nine-member panel, headed by Cate Blanchett. Additionally, in one of the biggest sales at the festival this year, Universal Pictures has acquired Chastain’s female-led spy thriller 355, which the actress has promoted as an “antidote to male-centered action films”.

On Sunday, Blanchett and 81 other women in films, including veteran actress Jane Fonda, filmmaker Ava Duvernay, jury member Kristen Stewart and actress Salman Hayek (pictured on the right; also one of the Weinstein accusers), staged a silent protest on the red carpet. The group walked in silence along the red carpet, before stopping halfway up the steps of the entrance to the Palais des Festivals, the conference centre which hosts the events. The gesture was intended to signify the difficulties for women “to climb the social and professional ladder”.

A statement read by Blanchett and documentary filmmaker Agnes Varda, read, “Women are not a minority in the world, yet the current state of our industry says otherwise… As women, we all face our own unique challenges, but we stand together on these stairs today as a symbol of our determination and commitment to progress… The stairs of our industry must be accessible to all. Let’s climb.”

Rasika Dugal, who plays Safia, Manto’s better half, in the biopic that was screened at the festival, walked with her director Nandita Das and one of the film’s French producers. She describes the solidarity march as “beautiful, and organised” and the statement “short and powerful, reflecting empathy and unspoken understanding for what everyone has been through to get to where they are today”.

Talking to Mirror from Cannes, the actress said, “We met at a particular place and walked in groups of 10, holding hands. We were all emotional and some of us were crying. I was holding hands with a distributor called Sophie whom I’d met for the first time. At the end of the march I thanked her for sharing the moment with me and she revealed that she’s pregnant and happy that her child got to experience this before it came into the world. Just talking about it gives me gooseflesh.”

According to Rasika discrimination of women at the workplace is one of the biggest challenges they face because living in a patriarchal society, one is conditioned to accept gender inequality and doesn’t pick on a sexist comment till much later because it’s slipped in so subtly. “Then, when you want to react, you are stopped by others saying, ‘Chill yaar, don’t be so uptight.’ That makes me really angry,” she said.

Manto which is in competition in the Un Certain Regard category is about the playwright-novelist Saadat Hasan Manto’s fight for freedom of speech. “He wouldn’t bow down to anyone deciding for him what he should or should not be saying and that’s something which unfortunately is relevant even today,” Rasika pointed out, adding that the reactions to the film were very personal as through those around him, including his wife, the audience got to see a side of the author they hadn’t known and could feel his loss. “Manto was particularly shattered by differentiation along religious lines which lead to relationships and friendships being reassessed. I’ve seen this in India too, in the last few years, with no space for dialogue, and that’s scary.”

Returning to the march, Rasika touches on the subject of pay disparity and admits that it’s humiliating when a colleague gets a bigger remuneration simply because he’s male. “We have a long way to go for things to change but I’m glad for such movements that allow us to at least talk about the issue,” she stated.

And why is Bollywood mum on sexual harassment? Rasika argued that it’s difficult for women to come out and speak on the subject in a society like ours, knowing there will be repercussions, without a strong support system. “The experience may have happened too long ago or been too subtle to register as sexual misconduct in our mind,” she reasoned. “Also, it’s a personal choice. But I’m not discouraged. The change worldwide will have a ripple effect. For now, it’s enough that marches like these make a statement. It was amazing to have been a part of it.” And what did they do after the march? “We just hung out at a cocktail party and had fun,” she said. 

Genie Godula, Helen Mirren and Aishwarya Rai Bachchan

Cosmetic giant team crashes Aishwarya Rai Bachchan's show with Helen Mirren at Cannes, honours her for long run as their brand ambassador
Upala KBR (MID-DAY; May 14, 2018)

Aishwarya Rai Bachchan had a surprise in store for her as she appeared on the Worth It show, alongside Helen Mirren, at Cannes on Saturday. To celebrate her 17-year-long run as ambassador of the cosmetics giant, the brand officials had an impromptu party of sorts on the show.

Says a source close to Rai, "The brand wanted to celebrate her presence at Cannes for the last 16 years as their brand ambassador.  They congratulated Aishwarya on the feat and brought in a huge cake with lipsticks on it. As she cut it, there was a confetti blast as well. This happened while the show was streaming live."

The show saw both, Mirren and Rai, speak about films and their lives beyond the cameras. Aishwarya Rai Bachchan — who debuted on Instagram on Friday — spoke about navigating the tricky world of social media. "I didn't want to join social media for the longest time. I felt it was such a rat race. Everybody wanted to put out their opinions and thoughts. But then I had so many well wishers who said they would enjoy the direct connection, so I finally gave in."

She also spoke about the joys of raising daughter Aaradhya, on the show. "I have been rediscovering childhood [through her]. There is no rule book to parenting. I find myself connecting with a little adult, because kids are growing up way faster than we did. What's great is to respect the fact that while they are children, they are also people with minds of their own."

Hours after Manto screening at Cannes Film Festival 2018, Nawazuddin Siddiqui tells mid-day how his labour of love got rousing reception
Mohar Basu (MID-DAY; May 14, 2018)

"It's such a gratifying feeling," said Nawazuddin Siddiqui, the joy evident in his voice. Speaking to us hours after the screening of Nandita Das' Manto at the Cannes Film Festival last evening, he said, "People had tears in their eyes. I could see that I had done well by the way people were responding to my performance. Nandita has created a fantastic film. As actors, we do our bit and walk off. It's she who has woven a wonderful tapestry, interspersing Manto's works with his personal journey."

Siddiqui is no stranger to the French Riviera. After his Gangs Of Wasseypur (2012) won hearts in the prestigious festival, Manto was selected in the Un Certain Regard segment this year. Admitting that he was "busy picking faults in my work" during the screening, Siddiqui adds, "Actors are poor judges of their own work. But, we have a good sense of what counts as a good film. I could gauge that Manto is a good movie from the raw emotions people had in their eyes."

As Nawazuddin Siddiqui slipped into the role of Saadat Hasan Manto, the actor said his biggest takeaway was that truth always remains relevant. He cited an interesting example in Iranian filmmaker Jafar Panahi whose Three Faces opened to a thunderous response on Saturday. Like Manto, Panahi, too has faced the wrath of his homeland after his works offered a critique of modern Iran. "Manto fought for his freedom of speech and look how relevant it is right now. This exemplary filmmaker has been banned. Such a coincidence," he exclaimed.

Director Nandita Das and Manto actress Rasika Dugal joined 82 women from the world of cinema in a silent protest against gender gap at the Cannes Film Festival

BOMBAY TIMES (May 14, 2018)

Filmmaker Nandita Das and her Manto actor Rasika Dugal joined Hollywood A-listers Jane Fonda, Kirsten Stewart, Ava DuVernay and Salma Hayek to protest against the lack of female representation at the Cannes Film Festival, on Saturday. The initiative was spearheaded by French cinema gender equality movement Collectif 5050x2020. An entertainment website said that the organisers’ aim was to highlight the hurdles faced by women to climb the social and professional ladder in the film industry. A total of 82 women from the world of cinema climbed the steps leading to the festival’s Theatre Debussy, paused and stood motionless and silent. Since the launch of the festival, only 82 films directed by women have been awarded by an official selection in competition, compared to 1,645 films directed by men.

Neena Gupta on her eye-catching Cannes debut and how a post on the social media last year has changed her life for the better
Avinash Lohana (MUMBAI MIRROR; May 14, 2018)

Last Friday, National Award-winning actress Neena Gupta made her first appearance at the Cannes Film Festival where the first look of her next film, The Last Color, directed by celebrity chef and author Vikas Khanna was unveiled. She wore designer-daughter Masaba Mantena’s creation — a crushed ivory saree teamed with a hot pink blouse in tribal vase print and Suhani Pittie jhumkas. Masaba mentioned that Neena’s brief to her was not to “overdo it” and the veteran actress is grateful to her daughter for doing a good job with her clothes.

“I am not as young as the other actresses and didn’t want to copy them. I have my own space and wanted to keep my dignity and integrity intact,” asserts Neena whose daughter advised her not to carry any woollies as the days are usually hotter there.

Reminiscing about her first day in the French Riviera, Neena says she didn’t have any makeup or hairdresser with her, so she trotted off to a small parlour near her hotel to get her makeup done. “But I was looking like someone else so the next day I stuck to just the basics — a touch of lipstick and rouge. I just wanted to be myself,” she laughs, adding that she went to all the meetings and went to some parties too.

Speaking about her film she admits that she’d known there are many widows in Vrindavan and Varanasi, but didn’t know they can’t play Holi, wear colour or mingle. “While listening to Vikas narrate his story, I had tears in my eyes. I had no role model for my character Noor so I decided to speak and walk slower. But then a day before I started filming, when I’d gone on the sets to meet everyone, they gave me my costume — a white saree and a blouse — every morning, the minute I put them on, I became Noor,” she says.

Last year, Neena had posted on Instagram, “I live in Mumbai and working am a good actor looking for good parts to play.” Soon after, Anubhav Sinha offered her a role in his social thriller Mulk. She’ll also be seen in Dibakar Banerjee’s next, Junglee Pictures’ Badhaai Ho with Ayushmann Khurrana and Sanya Malhotra and plays Sonam Kapoor’s mother in Veere Di Wedding. How does it feel to be working again? “It’s like a dream. I posted that because I was angry with people for thinking I’d moved to Delhi, but thanks to it my life changed completely,” she admits, adding that she’s impressed with the films being made today where even an actress of her age has a substantial role. “The young directors are so good that you cheat even a fraction of a second and you are caught instantly.”

On Mother’s Day, she posted a picture with Masaba and wrote, “I am her mother and she’s my daughter, and sometimes she’s my mother and I am her daughter, this is how it is when they grow up.”

Neena isn’t actively involved in Masaba’s business but her daughter always reaches out to her for feedback when she is working on something new. “We hardly meet these days as she is busy and so is her husband (filmmaker Madhu Mantena) but the connection is strong. I was telling someone that the only person I am scared of is Masaba,” she laughs, “We share a beautiful friendship.”

Rasika Dugal gears up for Manto premiere with Nawazuddin Siddiqui
Avinash Lohana (MUMBAI MIRROR; May 11, 2018)

Mirror (April 13) had earlier reported that Nandita Das’s next, on playwright-author Saadat Hasan Manto, has been selected for Cannes film Festival in the Un Certain Regard category. Rasika Dugal, who plays Nawazuddin Siddiqui’s wife, Safia Manto, in the biopic, left for the French Riviera on Thursday and is thrilled for the world premiere.

“It is a special feeling to watch your film on the big screen in a dark theatre and with an audience as discerning as the one at Cannes. The Un Certain Regard Jury this year is headed by (Oscar-winning actor) Benicio Del Toro and it’s a lovely feeling to know that my work will be watched by people whom I look up to,” Rasika says, adding that Nandita had done extensive research on the film and her character. “She got hold of many lovely stories while spending time with Manto and Safia’s daughters so we had a rich script.”

What about her own prep? “I spent time reading a five-volume collection of Manto’s work, his columns on the (then) Bombay film industry and essays of other writers on Safia and him. Urdu classes helped me appreciate the nuances of his writing and his essays helped me understand the author more as a person. But research is just to aid your instinct, the real magic transpires between two actors in the time between action and cut. I was fortunate to have a brilliant actor like Nawaz to experience that with,” she says.

Rasika goes on to add that she and her screen Manto found common ground in respect for their craft and a mutual warmth. “We also shared a whacky sense of humour along with Nandita. It was a welcome relief on intense shooting days,” the actress adds.

Nayandeep Rakshit (DNA; May 10, 2018)

Aishwarya Rai Bachchan is among the few actors, including Kareena Kapoor Khan, Saif Ali Khan, Kangana Ranaut, Rani Mukerji and Aditya Roy Kapur, who have stayed away from social media. But, we hear, that’s about to change now. The actress is all set to make her digital debut on the photo-sharing app, Instagram.

ONLY INSTAGRAM
Till recently, Ash wasn’t sold on the idea of being on social media. In an interview, she had said, “I think you should use it for its strength and not get drowned in it for its capacity to isolate as well as and make you just an individual and cease to be a people’s person.” But last year, she had revealed, “The time has come for me to join social media.” And now, she is ready to make her foray into the digital world. Says a source close to the actress, “Ash has a huge fan base on Facebook, Twitter and Instagram. Her fans have been waiting for her to be on social media for a long time. It’s due to constant requests from her well wishers, admirers and fans from all around the globe that she opted to start an official handle to keep them abreast of her life and projects, etc.” She will join Instagram on May 11, which is one day before her red carpet appearance at Cannes 2018 (May 12).

ASH NEEDED TO BE CONVINCED
Ash wasn’t keen on this move, and it took a lot of convincing from her friends and team to get her nod for the idea. “Ash’s closest buddies from the industry, which include Karan Johar, Manish Malhotra and others, have been telling her to join social media. Even her team persuaded her a lot. Before her 17th Cannes appearance, the L’Oréal team also discussed this with her. Finally, she decided to go ahead,” adds the source.

Huma Qureshi turns to celebrated desi couturiers for turns on French Riviera
Mohar Basu (MID-DAY; May 10, 2018)

Having returned to the French Riviera for the 71st Cannes Film Festival yesterday, Huma Qureshi has chosen to make Indian designers' names part of the whispers that fill the red carpet. After having sported a white Varun Bahl creation at the festival's India Pavilion inauguration ceremony yesterday, Qureshi will slip into designs crafted by Manish Malhotra and Falguni & Shane Peacock for the upcoming events on the international shore. Celebrity stylist Mohit Rai, the man behind her Cannes turns tells mid-day that they were conscious in picking Indian names for her look.

"For several years, Indian artistes have been wearing international designers at the Cannes red carpet. The idea [this time] was to showcase Indian talent on international shores. The younger, cooler designers [in this case, the Indian designers when pitted against international labels] never make it to the Cannes," he says.

For Huma Qureshi, the designs, he says, will be subtle. "We wanted to create beautiful looks, keeping in mind a muted palette. We chose to create [the look of] a strong, bold woman. Huma stands out, and we wanted her to express her individuality." Qureshi will slip into a lavender Falguni & Shane Peacock creation for tomorrow's proceedings. Falguni tells mid-day, "With Huma, we wanted to create a sharp look. We've designed a pewter suit with power shoulders and a cape."

Huma Qureshi, Vani Tripathi Tikoo and Prasoon Joshi at India Pavilion

CBFC chief Prasoon Joshi on opening India Pavilion at Cannes
Sonil Dedhia (MID-DAY; May 10, 2018)

With the aim of putting the spotlight on the treasure trove that regional cinema is, the India Pavilion was inaugurated at the 71st Cannes Film Festival yesterday. Prasoon Joshi, chairman of Central Board of Film Certification (CBFC) attended the event along with CBFC member Vani Tripathi Tikoo, Huma Qureshi and Jahnu Barua, among others.

With four National Award-winning films scheduled to be screened, Prasoon Joshi believes such festivals give regional cinema the much-needed impetus. "I am happy that the National Awards this year and the ministry have taken special efforts in showcasing regional cinema on such [an esteemed] platform. We should reach out to filmmakers who might not have access to a festival like this."

While film enthusiasts on foreign shores are well-versed with Bollywood, the CBFC chief says that international film festivals help in creating awareness about Indian cinema as a whole. "It's our regional cinema that is experimenting with new narratives. For the world to appreciate our rich content will be a win-win situation for India and world cinema."