Showing posts with label An Insignificant Man. Show all posts
Showing posts with label An Insignificant Man. Show all posts
While Indian documentaries shine globally, support at home elusive
8:05 PM
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Niharika Lal (BOMBAY TIMES; February 1, 2023)
From nominations and awards at the Oscars and BAFTA to accolades at film festivals like Cannes and Sundance, Indian documentaries have made their presence felt at most major global film events in the last few years. This year, two documentaries made it to the Academy Awards shortlist – Shaunak Sen’s All That Breathes and The Elephant Whisperers, directed by Kartiki Gonsalves. Apart from these, Sarvnik Kaur’s Against the Tide bagged the Special Jury Award for Verite Filmmaking at the 2023 Sundance Film Festival, and was the only Indian film competing in the World Cinema Documentary Competition category at the fest this year.
According to filmmakers, when it comes to international festivals, Indian documentaries are ahead of their fiction peers. However, these trophies don’t necessarily lead to an immediate pay-off, and documentaries still don’t get the support they need in India.
‘OSCAR NOMINATIONS HAVE INCREASED INTEREST IN INDIAN DOCUMENTARIES’
Filmmakers say that Indian documentaries have been grabbing attention at top international festivals regularly. But it is only now, thanks to the consistent Oscar nominations, that Indian documentaries are being discussed in the mainstream.
Vinay Shukla, whose documentary While We Watched (on Ravish Kumar) won awards at the Toronto and Busan festivals last year, and An Insignificant Man (on Delhi CM Arvind Kejriwal) won several awards at international film festivals in 2016, says, “Over the last decade, we have had some incredible filmmakers who are taking risks and telling stories with the best cinematic craft. International festivals and audiences respect and support that.”
Filmmaker Lubdhak Chatterjee adds, “There has been a spotlight on Indian documentaries internationally for a while because of intriguing content featuring local stories that also present an innovative formal approach. If stories are told with an uncompromising attitude, they are bound to transcend geographical borders.”
‘FESTIVAL NOMS DON’T ALWAYS TRANSLATE INTO DISTRIBUTION DEALS’
With international recognition, are documentaries commercially viable today? Directors have varied responses to this, as it depends upon the grants they receive, and the producers and investors they have on board. However, most point out that there is no support structure for documentaries in India. Pitching and mentorship labs like Docedge Kolkata – an incubation-cum-pitching forum for Indian and Asian filmmakers – help. However, there is a need for more such platforms.
Lubdhak, who made a documentary with the PSBT (Public Service Broadcasting Trust), says that earlier makers used to have Films Division and PSBT for support, which is not the case now. A screening at Cannes, a nomination at Oscars or international recognition translates into distribution deals from studios or OTTs in some cases, but not all. Sushmit Ghosh and Rintu Thomas, directors of Writing With Fire, recently told Deadline how they did not get a global distribution deal despite two awards at Sundance 2021. The Oscar nomination was a gamechanger, though.
Utpal Kalal, whose documentary was screened at IFFI in 2021, says that OTT platforms in India often refuse Indian documentaries, claiming there is no audience. He says, “Not all good documentaries are going to be selected for Sundance, Oscars or Cannes, so we need a system in India that supports documentary investment and distribution. The international interest has always been there but there is so much that needs to be done in India. It should start with supporting filmmakers beyond festival screenings. Why can’t we have global distributors at IFFI and Mumbai International Film Festival? Even National Award-winning films don’t get distribution deals. These big Indian festivals need to reflect what they’re offering to the documentary genre and whether it is enough. Our Writing With Firestories are being watched by an international audience, but the Indian audience is missing out. How many people in India have watched Writing With Fire? We’re making amazing documentaries, but unfortunately we’re not able to show them to our home audience. In India, it’s almost impossible to get a theatrical release for a docu, so we’re all dependent on OTT.”
WHAT’S NEEDED FOR DOCUMENTARIES TO THRIVE IN INDIA
- Community and audience support
- Funding for documentaries, which is nearly non-existent at the moment, say makers
- State bodies like the erstwhile Films Division and NFDC need to create a system to support documentaries
- Cinema clubs or places that screen films by amateur documentary filmmakers
I didn't throw Khushboo Ranka and Vinay Shukla out of my office-Pahlaj Nihalani
7:55 AM
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MUMBAI MIRROR (May 27, 2017)
Filmmakers Khushboo Ranka and Vinay Shukla had informed Mirror on Friday that chairperson of the Central Board of Film Certification, Pahlaj Nihalani, had asked them to get NoCs from Prime Minister Narendra Modi, Delhi Chief Minister Arvind Kejriwal and former Delhi CM Sheila Dixit, among others, before clearing their political documentary, An Insignificant Man. They added that after the Examining Committee had referred them to the Revising Committee without offering any reason, they had approached Nihalani for an explanation and he “threw them out of his office”.
Objecting to this allegation, Nihalani said, “I met them at the theatre during the Revising Committee screening and after it, I suggested some mute cuts (beeps) with reference to certain political parties. I also told them that since they had used footage of certain real politicians, they would need to get NoCs from them. They told me they had already taken NoCs during the shooting, and said I would clear the film subject to the NoC. Their allegation that I threw them out is completely untrue.”
Censor chief Pahlaj Nihalani asks makers of film on Arvind Kejriwal to get NoC from Narendra Modi
8:12 AM
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Nihalani
justifies the NoC demand saying filmmakers have used the actual footage
of Modi and other leaders, which cannot be shown without their
permission
Roshmila Bhattacharya (MUMBAI MIRROR; May 26, 2017)
Two filmmakers from Mumbai have been asked by the Censor Board chairperson Pahlaj Nihalani to get a no-objection certificate from none other than Prime Minister Narendra Modi to get their documentary on Delhi Chief Minister Arvind Kejriwal released in India.
Khusboo Ranka and Vinay Shukla, the makers of Hindi-English documentary titled An Insignificant Man, have chronicled the anti-corruption protests of which Anna Hazare was the face, and which resulted in the birth of the Aam Aadmi Party, the NDA sweeping to power at the Centre, and Kejriwal becoming the Delhi Chief Minister with a thumping majority.
Two filmmakers from Mumbai have been asked by the Censor Board chairperson Pahlaj Nihalani to get a no-objection certificate from none other than Prime Minister Narendra Modi to get their documentary on Delhi Chief Minister Arvind Kejriwal released in India.
Khusboo Ranka and Vinay Shukla, the makers of Hindi-English documentary titled An Insignificant Man, have chronicled the anti-corruption protests of which Anna Hazare was the face, and which resulted in the birth of the Aam Aadmi Party, the NDA sweeping to power at the Centre, and Kejriwal becoming the Delhi Chief Minister with a thumping majority.
The documentary, produced by the Ship Of Theseus director Anand Gandhi, premiered at the Toronto International Film Festival last year, and has since been screened at 40 festivals across the world. Over the next few weeks, it will be screened in Sydney, New Zealand, and Washington.
Ranka and Shukla told Mumbai Mirror that the Censor Board asked them to delete all references to the BJP and the Congress from their documentary, and also submit NoCs from Modi, former Delhi Chief Minister Sheila Dixit, and Kejriwal, among others. When they approached Pahlaj Nihalani, he “threw them out of his office” saying he didn’t owe them an explanation.
The filmmakers said they applied for certification in February. “At the end of the screening for the Censor Board’s examining committee, we were told the members didn’t want to speak to us or even hear us out. When we asked if they had any concerns, we were told that everything would be conveyed to us in a letter which arrived 10 days later,” Shukla said.
The letter informed that the film had been referred by the examining committee to the revising committee. When they approached Nihalani — who last year was quoted as saying that he was “proud to be a Modi chamcha” — he told them he was not obliged to give them an explanation and summoned security guards to make them leave his office.
A screening was then organised for the revising committee, which was attended by Nihalani. At the end of it, the filmmakers were told that the Censor Board wanted them to delete six references to the BJP and the Congress and get the NOCs.
“Is Mr Nihalani expecting the prime minister to do the censor chief’s job now? If any of the concerned parties, including Mr Modi, Mr Kejriwal or Ms Dixit have a problem, they can challenge us in court. Why is the Censor Board acting as a watchdog for politicians and as the gatekeeper for the establishment? Its job is to certify films, not guard politicians. At least let them cite the exact scenes or statements they have a problem with, and which would require NoCs from these politicians,” Ranka said.
She said this was a clear case of a filmmaker being denied the right to tell his/her story. “The footages we have used of politicians are of their public appearances, are already documented and broadcast by several TV channels and newspapers. If journalists do not require NoCs for revealing information that is already there in the public domain, why should different rules apply to filmmakers? It’s like asking a journalist covering the Coalgate scam to get a NoC from a political party,” she said.
The filmmaker said even Kejriwal, who allowed them to record him, was non-committal when they asked him about his views on the documentary. “All he said was, ‘it’s interesting’,” Ranka said.
Ranka and Shukla said they were surprised at the Censor Board’s statements that the documentary was “potentially damaging” to Kejriwal, and that it was passed without any cuts.
“The bigger problem is, there is no forum to address these questions with the Censor Board, which shows no accountability or clarity in its mission or purpose,” Shukla said, adding the documentary was made with money raised through a crowd-funding campaign hosted by the filmmakers on their own platform, which brought in $120,000, nearly 600% more than their initial target of $20,000.
“We are first-time filmmakers with no political background. We moved to Delhi to make this fly-on-the-wall film on our own which is so interesting to watch in the present context. We have 800 partners who want to know when the film is releasing in India,” Shukla said.
Nihalani has already stated that no film should be allowed to be screened in festivals abroad without a certificate from the Censor Board. When Mirror got in touch with him yesterday, he insisted the Censor Board had not asked for any cuts.
Regarding the NoCs, he said the makers had used “real footage”, including that of the Parliament proceedings, and also the real names of politicians from various parties.
“When Karan Johar used Raveena Tandon’s name in a film, he got NoC from her. Ditto the makers of Jolly LLB 2 for a reference to Salman Khan. In this case, as they have referred to Mr Modi, Mr Kejriwal, and Ms Sheila Dixit among others, they should get NoCs from them. They say they have permission to use the footage but we don’t know that for a fact. So the NoC is a reasonable demand,” Nihalani told Mirror.
When reminded that it would be an almost impossible task for the filmmakers to get NoCs from the prime minister himself, he said, “Even if someone uses a phrase such as ‘Modiji ka gaon’ in their film, we ask for the PM’s NoC. In this case they have used footage from his political speeches. We will only clear the documentary once we get the NoCs.”
Again referring to Jolly LLB 2, Nihalani said, “In Jolly LLB 2, they made a mention of Bata and the company dragged the studio to court. The Censor Board was also made a party to it. Anyone can file a case, we can’t spend our time in the courtroom instead of doing our job. So the NoC is a must,” he said.
The filmmakers have vowed to fight it out. “It’s sad that we have to go through all this in a mature democracy for a film which was made for India. To quote Henry Louis Gates, censorship is to art as lynching is to justice. We have been lynched but we will keep the battle going,” Ranka said.
Pahlaj Nihalani passes film on AAP leader Arvind Kejriwal sans cuts, but conditions apply
7:18 AM
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Subhash K Jha (DNA; May 19, 2017)
Vinay Shukla and Khushboo Ranka’s much-discussed documentary An Insignificant Man, which was stopped by the Examining Committee (EC) and Revising Committee (RC) of the Central Board Of Film Certification (CBFC) was viewed personally on Wednesday by its chairperson Pahlaj Nihalani, who passed the film with a U/A and no cuts…
But there’s a rider to the certification. The film’s producer Anand Gandhi (of The Ship Of Theseus fame) and co-directors Shukla and Ranka have been asked to get NOCs (No Objection Certificates) from everyone concerned, including Kejriwal himself.
According to sources in the CBFC, the film is potentially damaging to the image of Kejriwal and his Aam Aadmi Party. “It has extensive footage of the behind-the-scenes working and manoeuvrings in the AAP and Kejriwal is not shown in a very authoritative light.”
Nihalani confirms, “We’ve asked the makers of this documentary to furnish NOCs from the people who they’ve documented. This is standard procedure. Prior to this, when a film on the Prime Minister entitled Modi Ka Gaon was brought to us, we asked for an NOC from the PM’s office.”
Anand Gandhi's film on Aam Aadmi Party's rise to be premiered at Toronto International Film Festival
7:51 AM
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Ship of Theseus director Anand Gandhi returns to the Toronto Film Festival with a drama which traces Arvind Kejriwal's political journey
Avinash Lohana (MUMBAI MIRROR; August 10, 2016)
According to Gandhi, the idea for the 95-minute film, distilled from 400 hours of real behind-the-scenes footage shot over a year, originated from “filtered“ news surrounding the 'India Against Corruption' movement a few years ago that culminated in Kejriwal founding the Aam Aadmi Party in November, 2012. “Khushboo and Vinay were keen on understanding the inner workings of the party offices so they picked up their cameras, along with a few assistants, and moved to Delhi to follow its key members, Kejriwal and Yogendra Yadav,“ the 35-year-old filmmaker informed Mirror.
He also reveals that it was his own desire to understand the country's political system that inspired him to back the film. “I wanted to deconstruct the political procedures to distill that material into a simple, understandable film which could further con tribute to the discourse. TIFF is special for me because it completely changed the course of my debut feature. I hope the new film does better than that,“ he says.
Financed by India's biggest crowd-funding campaign for a film supported by nearly 800 people, An Insignificant Man delves into AAP's closed-door meetings, in-fighting, and the very public walk-outs. “Besides its transparent tone, it's also a procedural film that shows how a group of people form a political party and can come to power. Watching the raw footage was enlightening even for me,“ Gandhi says, adding that he wishes to make more such films with Khushboo and Vinay.
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