Chaitanya Tamhane and Aditya Modak at the Venice Film Festival. Pic/AFP

After The Disciple does India proud by bagging two awards at Venice Film Festival, man of the historic moment Chaitanya Tamhane on taking Marathi film global despite lockdown
Uma Ramasubramanian (MID-DAY; September 14, 2020)

Miles away from Italy where the action was, or the UK where mentor and the film's executive producer Alfonso Cuarón lives, a wave of cheer erupted in the Tamhane household in Andheri. And with it, a wave of pride washed over Indian filmmakers and cinephiles as news broke on Saturday night that Chaitanya Tamhane's The Disciple had bagged the Best Screenplay award at the 77th Venice Film Festival, two decades after Mira Nair's Monsoon Wedding had walked away with the Golden Lion. Only a day earlier, The Disciple had won the FIPRESCI Award.

"To win two awards at Venice where you are competing with stalwarts is overwhelming. We did not make the film to win awards, but it feels special to get recognition from such accomplished jury members. It's a big moment for Indian cinema," says the two-film-old director who is quickly becoming a force on the international circuit. His directorial debut, Court (2015), had bagged the Best Film in the Orizzonti section and the Lion of the Future award at the prestigious film gala in 2014.

The Marathi movie narrates the story of a vocalist, played by Aditya Modak, who has to balance life in Mumbai with his chosen vocation. Tamhane says he was uncertain about its prospects when several film festivals were cancelled in the wake of the Coronavirus pandemic. "It was weird to have finished the movie and be sitting on it. I was told it's probably the worst year for a filmmaker to finish a film, since the World War II. Fortunately, the Venice Film Festival took place in all its glory even though there were a lot of protocols to be followed. We were there to present the film and see it on the big screen."

It must not be easy to find your feet in a country that has only now begun to look beyond Bollywood. Despite the odds, Tamhane has emerged as one of the most unique voices in Indian cinema. "I don't like to make distinctions. For me, The Disciple is not a regional film, it is an Indian film," says the unassuming filmmaker, who is now eager to show his labour of love to the Indian audience. "There is so much uncertainty whether cinemas will reopen soon. We are also in talks with OTT platforms for the digital [premiere] of the film."

Chaitanya Tamhane opens up about his historic double win at the 77th Venice Intl Film Fest & reminisces about his directorial debut, Court
Roshmila Bhattacharya (MUMBAI MIRROR; September 14, 2020)

In 2014, his directorial debut, Court, was adjudged Best Film (Horizons) at the Venice Film Festival. He had also bagged the Lion of the Future Award. Six years later, The Disciple was honoured with the prestigious International Critics’ Prize, awarded by Federation Internationale de la Presse Cinematographique (FIPRESCA) jury. A day later, Chaitanya Tamhane also won the Best Screenplay Award for his Marathi feature film at the closing ceremony of the Venice Fest that was live-streamed globally. And that prompts the first question to the 33-year-old director who has done India proud…

How different were your reactions to the dual honours, given that six years later, you are no stranger to acclaim?
It was a big moment for us because even if your previous film has won some awards, every film is a new battle. So, there was a lot of curiosity and suspense over how The Disciple would be received, and it was nice to know that the FIPRESCA jury thought it was the best film for them in the competition. Also, to win the Best Screenplay Award given by the official jury with such stalwarts in the mix made it very special given that this time it was the main competition. You can never get used to such acclaim.

The last Indian to win the FIPRESCA in Venice was Adoor Gopalakrishnan for Mathilukal 20 years ago...
Yes, we are honoured and humbled because my generation is standing on the shoulders of such giants as Adoor Gopalakrishnan, Satyajit Ray, and so many Indian filmmakers who have had a great history with Venice.

And what was it like being a part of a festival during the Coronavirus pandemic?
Well, we were curious to see how a festival would be organised this year and were pleasantly surprised to see the energy and vibe were intact despite the safety protocols. It was heartening to see cinema lovers watch films together, even though everyone was wearing masks and practicing social distancing.

Has the lockdown brought about any changes in you as a person and a filmmaker?
The lockdown has made everybody pause and reflect. It’s the most apt time to watch a film like The Disciple. It will definitely have a direct or an indirect impact on not just me but what everyone does in the world.

Your mentor and executive producer, Alfonso Cuaron, won the Best Screenplay Award for Y Tu Mamá También in 2001. Would you say you are a disciple too?
Alfonso is very chilled out and modern in his mindset. So, the equation between us is like a dialogue between two artistes. He generously calls me his friend and collaborator. For me, he will always be one of my mentors who helped me grow as a filmmaker and expand my vocabulary. I hope to retain the values and lessons learnt from him in the last five years and will continue to be a good student in that sense.

You’ve said that The Disciple is influenced by the play, The Grey Elephants in Denmark, that you wrote in 2008. Any plans to revisit it on stage?
It’s a spiritual successor, a grownup adaption. The setting and mediums are very different but the core conflict and theme comes from there. Vivek Gomber, my producer, was the lead actor of the play. But now, I am done with that story. I will tell others.

How difficult was it for you to enter the closed world of Hindustani classical music? Will The Disciple revive interest in a dying art?
I see it as a dynamic, thriving art form and sub-culture, with many affordable concerts, music schools and brilliant artistes. Maybe it’s not as dominant in the mainstream as it was in the 19th century, but there’s still an audience that appreciates this music. And online platforms give you unlimited access to all music recorded, officially and unofficially. With all the material available, I was like a kid in a candy store, I just had to decide what to retain and what to let go. The intention wasn’t to revive it, but if that happens, great.

Venice, Toronto, New York, three big festivals are showcasing your film…
Yes, we couldn’t have asked for a better Fall festival launch. We feel incredibly grateful that in such an uncertain year, we could put our film out there for people to watch. The idea is to take it to a wider audience now.

With theatres in India still shut, what is the plan?
We will definitely bring it to India, be it a theatrical or an online release. We are talking to different players but nobody has an answer yet.

Court was India’s official entry for the Academy Awards. If The Disciple is picked, are you confident of bringing the Oscar home this time?
So far, we were only focused on the world premiere in Venice. If we do get picked, it would be a massive honour and we will do our best not just to promote our fim, but represent Indian cinema on a global stage.

Looking back, what do you recall about Court, and what will you remember The Disciple by?
I remember Vivek and my naivety, the innocent energy with which we got a crew together, convinced them to believe in our vision and with no film background or reference, just made Court. We were lucky that it turned out well, and proud that it was accepted. The Disciple is more ambitious in its scope, scale and budget. And I will always remember the time, patience, sweat and blood that has gone into its making. A two-year writing process, one year of prep and shoot and then, one more year on the post production.

You had mentioned that you were working on another subject when you were hooked by The Disciple. Will that be your next?
That was back in 2015-2016, when one was in a certain frame of mind. That project has been abandoned and I’m curious to know what I will give so many years of my life to next. It will be something new and totally different. But yes, maybe some ideas from that project will return in some form in a future one.

Both Court and The Disciple are about singers…
That’s a coincidence. In Court, the singer was just a catalyst, a springboard for us to get into the lives of people who are a part of some institutions. The Disciple is really about a singer, his inner struggle and survival, his artistic journey in the city of Mumbai.

So, are you a singer yourself now?
(Laughs) No, I’m not a singer, I’ve never even learnt music.

Chandrima Banerjee | TNN (THE TIMES OF INDIA; September 13, 2020)

The last time an Indian film won the international critics’ award at the Venice Film Festival, the world’s oldest, was in 1990, for Adoor Gopalakrishnan’s ‘Mathilukal’.

On Saturday, Chaitanya Tamhane repeated the feat with ‘The Disciple’.

The 90-year-old Fipresci, or The International Federation of Film Critics, hands out awards at major international film festivals.

“I’m feeling good, very grateful actually. It’s great for the entire team,” Tamhane told TOI, hours from the announcement of the Golden Lion, which his film is in competition for — a first in 20 years for an Indian feature.

Is he nervous? “No, I am ok. I am already happy that we got the Fipresci. I was happy since the time the film was selected and we made it to Venice. But yes, obviously, it does feel nice when you get that kind of recognition.”

Mihir Bhanage (BOMBAY TIMES; September 12, 2020)

It’s been a few days since filmmaker Chaitanya Tamhane returned from Venice and the jet lag is yet to wear off. “I am just getting some rest for now,” says Chaitanya, who had been to the beautiful Italian city to attend the screening of his second feature film — The Disciple — at the Venice Film Festival.

The Marathi feature film is in the running for the Golden Lion at the fest, the first Indian film to do so in the last two decades after Mira Nair’s Monsoon Wedding (2001).

Speaking to us about his experience of attending the screening, which happened recently, Chaitanya said, “It was a surreal feeling to just be there. Actually, we were not even sure if we would be able to fly to Venice because international flights haven’t resumed normal operations. We had bought our clothes and were prepared, but it was a very last minute thing.” So how did they make it happen? “Well, we had sought permission from the foreign ministry and the Indian embassy. Luckily, things fell into place and we managed to attend the screening,” adds the Court filmmaker.

Though Chaitanya has been at the festival twice before, once for the screening of Court and then as a jury member, this visit was entirely different compared to the previous ones. He shares, “This was not a virtual event. People were physically present and our film was screened in a cinema hall on the big screen. Under normal circumstances, this wouldn’t have been such a big deal, but given the current scenario, a big screen world premiere was exhilarating.”

Chaitanya, who is in compulsory home quarantine after returning to Mumbai, says that the entire process of going to Venice, partaking in the festival and returning was something none of them had experienced before. “We got Coronavirus tests done before leaving India. Another a swab test was done when we reached Italy. Social distancing and strict hygiene protocols were followed at the festival, and once we returned, we are now adhering to the 14-day home quarantine. Even the cinema hall where The Disciple was screened was only half-full as per the new norms,” he says. At the fest, the team, which also included producer Vivek Gomber and lead actor Aditya Modak, was allowed to lower their masks only during the photo-call.

Despite the representation on a global stage and raving reviews that the film received after its premiere, there was hardly any buzz around it back home. Did that bother Chaitanya? “The Disciple not getting any press coverage in India is the least of my concerns. We got enough coverage in the international media, in fact, beyond our expectations, and we are happy with that. Frankly, there are many other issues that the Indian media should be focussing on and it isn’t. So, I am not complaining at all,” he says.

With the world premiere done, the team of the film, which has Gravity and Roma director Alfonso Cuaron as its executive producer, is bound to be looking at showing the film to the Indian audience. Chaitanya agrees and shares, “We can’t wait to show it to the Indian audience because it’s a film set in India, with Indian cultural contexts and Indian classical music at its core.” And will they stick to a theatrical release? “We would love to do that. But we are in no hurry. Right now, everyone’s focus should be on flattening the COVID curve. When it’s safe, people can and will venture out to catch a movie. Till then, it’s all about waiting and watching,” he concludes.

Big moment for India as Chaitanya Tamhane's The Disciple selected in the competition section of Venice Film Festival, 20 years after Mira Nair's Monsoon Wedding bagged top honour
Shaheen Parkar (MID-DAY; July 30, 2020)

Almost two decades after Mira Nair's Monsoon Wedding (2001) bagged the Golden Lion at the Venice Film Festival, Chaitanya Tamhane's Marathi film, The Disciple, has been selected in the competition section of the 77th edition of the prestigious gala. Scheduled from September 2 to September 12, it is one of the first film festivals to be held in the wake of the pandemic with strict social distancing guidelines and screenings in outdoor venues.

Tamhane is overwhelmed that his sophomore directorial venture is set to compete with Majid Majidi's Sun Children and Andrei Konchalovsky's Dear Comrades, among others. "The competition section has showcased some of the best films in cinema history. The selection of The Disciple is a milestone in the Indian independent cinema movement. I am relieved that it has found such a great start even in these tough times," says the director. The Disciple, which is set in the world of Indian classical music, chronicles the journey of a vocalist, who has to balance life in contemporary Mumbai with his chosen vocation. "We have poured every ounce of energy and effort into the film over the last four years," adds the filmmaker.

Counted among the finest storytellers in Indian cinema, Tamhane will return to the festival after six years. His directorial debut, Court (2015), had premiered at the gala, where it bagged the Best Film in the Orizzonti section and the Lion of the Future award. Back home too, the film — a commentary on the Indian judicial system — bagged the National Award and was India's official entry to the 2016 Oscars.

Producer Vivek Gomber, who has teamed up with Tamhane after the 2015 outing, says, "I hope this makes it easier for new voices in our country to follow their paths."

Aishwarya Rai Bachchan at the 72nd Cannes red carpet

With lockdown in France extended, uncertainty looms large over its prestigious film festival; other global fests face Coronavirus heat, too
Nishi Tiwari (MUMBAI MIRROR; April 16, 2020)

On Monday, French President Emmanuel Macron said in his address to the nation that inhome confinement due to the Coronavirus outbreak will be extended to mid-May. According to a Deadline report, he also noted that festivals and other events drawing large crowds will not be allowed to go forward until at least mid-July.

A day later, organisers of the Cannes Film Festival issued a statement, saying, “It is clearly difficult to assume that the Festival de Cannes could be held this year in its original form”. “Following the French President’s statement, on Monday, April 13th, we acknowledged that the postponement of the 73rd International Cannes Film Festival, initially considered for the end of June to the beginning of July, is no longer an option…” the statement added, without elaborating on what the alternatives could be, but said that the organisers hoped “to communicate promptly”.

While speculation is rife that the 73rd edition of the film festival could be moved to the fall, it poses another problem. The slot is already crammed with other biggies—Venice Film Festival (September 2-12), Telluride Film Festival (September 4-7), Toronto Film Festival (TIFF, September 10-20) and New York Film Festival (September 25-October 11).

Uncertainty looms large over other big fests of the year as well. The Roger Ebert-founded Eberfest, scheduled for April 14-17 in Champaign, Illinois, was cancelled last month. The Indian Film Festival of Los Angeles, set to kick off April 1 with “An Evening with Imtiaz Ali”, has been postponed as well.

Almost a fortnight ago, the Sundance Institute postponed the 2020 editions of its London and Hong Kong festivals due to the pandemic with a decision to “reimagine the 58 live programs we had planned through August 2020,” said a statement, adding that these events “will no longer be in-person gatherings”. Sundance London was due to run May 28-31, while Hong Kong had yet to set dates. The festival was held mid-September last year.

While Sundance tip-toes around the possibility of going online, the 2020 Edinburgh TV Festival, as per a Deadline report, has been announced as an online-only event. The organisers are reportedly hoping to keep its original August 26-28 dates. The 18th annual Golden State Film Festival will be online-only as well, and all of its physical events are cancelled. On April 2, The Hollywood Reporter had informed that TIFF is weighing options to go online and remain, where possible, with a physical event amid planning concerns.

Brad Pitt took his film Ad Astra to Venice 2019 (above; right)

Nick Jonas, Priyanka Chopra at Cannes 2019  (above; left)


Scarlett Johansson at Venice fest with her film, Marriage Story


Bradley Cooper, Lady Gaga took A Star is Born to TIFF in 2018