Showing posts with label Goutam Ghose. Show all posts
Showing posts with label Goutam Ghose. Show all posts
I don’t believe that cinema is dead, it’s alive and thriving-Ramesh Sippy
8:59 AM
Eshna Bhattacharya (BOMBAY TIMES; November 15, 2025)
When Ramesh Sippy took the stage at the 31st Kolkata International Film Festival for the Satyajit Ray Memorial Lecture, the packed hall was transported back to the dusty plains of Ramgarh, where Sholay first came alive. Fifty years since its release, the filmmaker’s words still carried the same spark of storytelling that defined one of Indian cinema’s greatest epics.
Sholay: From two lines to timeless legend
Ramesh Sippy recalled, “Sholay started as a two-line idea, maybe four, about an army officer and two mischievous ex-soldiers, later changed to police officers because army permissions would have slowed filming.”
He praised Salim-Javed, saying, “I told Javed sahib only about Gabbar - impulsive, heady, smiling one moment and exploding the next. From his first narration, I knew he’d captured exactly what I wanted. That scene in the ninth reel gave us the immortal line, ‘Kitne aadmi the?’”
On unseen technical challenges, Sippy explained, “The Thakur family massacre sequence took 23 days because weather kept changing; clouds appeared after days of perfect sunlight. The lamp-lighting scene with Amitabh and Jaya took 15–20 nights - we rehearsed in the afternoon and shot at dusk, often capturing just one take per day. There were no post-production fixes; every shot demanded meticulous planning, patience, and teamwork. Even a bike-with-sidecar shot was nailed in the first take after careful preparation.”
On casting, he said, “Dharmendra debated Thakur, Gabbar, and finally Veeru. Hema Malini’s speed and energy made Basanti unforgettable, while even small roles like Asrani’s jailor or Sachin’s priest’s son were built with perspective.”
Concluding on the film’s legacy, he reflected, “Every frame, every contribution - from Salim-Javed to technicians like M S Shinde and Mangesh Desai, to artisans like Aziz Bhai - mattered. That’s why Sholay endures, fifty years later, delighting audiences worldwide.”
Cinema, change, and the art of balance
For Sippy, the core of filmmaking lies in balance - between art and commerce, between dream and discipline. “The combination of art and commerce, to me, is true cinema,” he said. “Markets change, but the fundamentals remain. Filmmakers, producers, financiers -all adapt, but what lasts is sincerity.”
He dismissed the idea that cinema is losing its relevance. “Don’t believe for a moment that cinema is dead,” Sippy said. “It’s alive and thriving. Every genuine hit proves how audiences still come back to fill the halls. Multiplexes may be smaller than single-screen theatres, but they deliver what matters - great sound, beautiful projection, and that same old magic.”
Sippy’s message to young filmmakers was clear: “Follow your dreams, trust your instincts, and give the world good, powerful, entertaining cinema. The audience always knows what’s genuine - and they reward sincerity and passion. That’s the real legacy.”
He also spoke about the role of women in cinema, the rise of new voices, and how technology has transformed storytelling. “Whether you learn in film school or by observation, what matters is the urge to create,” he said. “Any time is a good time for cinema.”
Bengal, and a hope of a future bridge
The filmmaker grew nostalgic as he reflected on Bengal’s influence on his work. “To have someone like Satyajit Ray admire Sholay is an honour I’ll always hold close,” he said.
“Ray’s storytelling taught generations of filmmakers to aim higher.” He acknowledged the imprint of Bengali cinema on his own philosophy, adding, “I learned so much from Bengali cinema and from filmmakers everywhere: the ideal is always to combine art and commerce, making films that connect with audiences on all levels.”
Expressing a desire to return to Kolkata, he said, “Kolkata breathes cinema. I think I would be quite happy to look at some kind of proposal, a project bridging Bombay and Bengal. If we find the right film, the right subject that appeals to both audiences, and in general, to everyone, I’ll be very happy and willing to do it. If the opportunity arises, I’d love to make something that bridges Bombay and Bengal, a story that speaks to everyone.”
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“My father was in films, but my first visit to a set was when I was just seven years old. I walked through those huge wires and all the equipment on set. It was dangerous, I realize now, but at the time, as a kid, I didn’t think about that. I was simply fascinated by the entire atmosphere.” - Ramesh Sippy
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“Don’t think that cinema is dead. It is very much alive, and when a hit comes along, you realize the audience never left - they always come back. Whenever there’s a good film, they will return” - Ramesh Sippy
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“Satyajit Ray was a great admirer of Sholay. He once told me it was one of the most well-crafted films in Indian cinema he had ever seen.” - Goutam Ghose
Chitrangda Singh resumes work on Indo-Italian film, directed by by Goutam Ghose
8:25 AM
Chitrangda resumes work on Indo-Italian film, which was halted due to the pandemic; drama to be shot in Mumbai and Jabalpur
Priyanka Sharma (MID-DAY; December 17, 2022)
Chitrangda Singh, who featured in a segment of Modern Love Mumbai earlier this year, finds herself at the centre of another contemporary relationship drama. The actor has resumed the shoot of a yet-untitled Indo-Italian project, helmed by Goutam Ghose.
While the film originally went on floors in 2019, the filmmaker soon had to hit the brakes on the shooting due to the Coronavirus pandemic. Almost three years on, Singh and Italian actor Marco Leonardi have reprised their roles as the director conducts a schedule in Mumbai.
mid-day laid its hands on pictures from the set as the leading lady shot for key scenes. Singh can be seen in a saree and sporting minimal make-up. A source says, “The character required her to go de-glam.”
The film looks at the issues surrounding human displacement, through the story of a couple and their child. The insider adds, “The unit will soon head to Jabalpur, Madhya Pradesh for a short stint, post which it will be a wrap on the film. It is being shot in Hindi and English, and will be later dubbed in Italian.”
The story has been penned by Ghose and Jagannath Guha, along with Italian scriptwriters Amedeo Paganini and Sergio Scapagnini.
Image: Goutam Ghose returns to Hindi films 12 years after Yatra
7:53 AM
Goutam Ghose in action; Tillottama Shome and Adil Hussain on the sets
Avinash Lohana (MUMBAI MIRROR; August 7, 2018)
Twelve years after his 2006 drama, Yatra, featuring Rekha, Nana Patekar and Deepti Naval, National Award winning filmmaker Goutam Ghose will be returning to Hindi cinema with One Day In The Rains. The film is presently being shot in Jharkhand with Adil Hussain, Tillotama Shome and Neeraj Kabi in the lead.
“It is the story of common people, their kindness and compassion, and how they save the lives of an old couple while sacrificing their own material interests. The subject has a universal appeal as the elderly are often considered a burden by their children today which is primarily why I made this film in Hindi,” reasons Ghose
Based on a book by Prafulla Roy, the film is set in Chota Nagpur and the dialogues have a hint of the local dialect. Ghose has also roped in local actors, Ricky and Shajaat, and plans to use more actors from the region, including common villagers. “A popular actor from Jharkhand, Rishiji, has also agreed to do a cameo. Adil and Tillottama have worked hard to transform themselves physically and when you see them on screen, you’ll think they are real villagers,” Ghose promises, pointing out that even in his 1984 drama, Paar, Naseeruddin Shah and Shabana Azmi had prepped for over six months to lose weight and ‘look’ the part of exploited labourers from Bihar who after the husband kills the landlord’s brother, become fugitives. “I’m very particular not just about their physical appearance but also that my actors should internalise their characters.”
The story is set against the backdrop of the monsoon and Ghose admits while it’s a beautiful season, it’s a difficult shoot given the terrain. “But the story is about these simple people who overcome all hardships to help others. I’ve fallen in love with them and Jharkhand which has some unbelievable locations and great music which I have incorporated into the film,” he informs.
While the lines between parallel and mainstream cinema are blurring and actors are experimenting, the acclaimed filmmaker does not see much change. “Indian cinema continues to deliver big budget commercially packaged products which do business worth hundreds of crores. And then there are the small, realistic films which cater to those cinegoers who are looking for good content,” he signs off.
I consider learning ‘Bangla’ for the film a personal and professional milestone-Tabu
7:55 AM
As told to Roshmila Bhattacharya (MUMBAI MIRROR; December 25, 2017)
My maternal grandmother, Liaqat Ahsan, who was a kindergarten teacher for 45 years and was our window to the world, had long been fascinated by Nobel Laureate Rabindranath Tagore, Bengali women for their ‘speaking’ eyes, in particular Satyajit Ray’s Aparna, Sharmila Tagore, and the language which she asserted was the sweetest in the world, jaise zubaan mein koi shakkar ghol di hai. In 1995 I went to Kolkata for the first time for a store launch, soon after Vijaypath released, and instantly fell in love with the City of Joy which seemed suspended in time, a kind of magical realism which drew me to it. Like my nani, I was also drawn to the women there who looked ethereal with their ‘taant’ saris, ‘bindis’ dotting their forehead and sindoor streaking their ‘maang’. I marveled at how rooted they were in their culture and when they spoke, it was music to the ears.
However, despite my enchantment, I did not visit the state for a decade but jumped at the chance of doing a Bengali film, when Goutam Ghose approached me for Abar Aranye (picture above). The 2003 film was a sequel to Satyajit Ray’s iconic 1970 adventure drama, Aranyer Din Ratri, taking Ashim, Sanjoy, Harinath and Aparna, the characters from the original, back to the forest after over three decades. The nostalgic trip goes awry when my character, Ashim and Aparna’s daughter, is abducted by local tribesmen. I had one condition - to be allowed to dub for the films for the pleasure of speaking the language I loved—and Goutam da graciously agreed.
I had worked in South Indian films earlier but had never dubbed for them. This time I was determined to lend my voice to my character, Amrita. I didn’t have any Bengali friends at the time and in those days you did not have a language coach coming with you on the sets. But I quickly bonded with the all-Bengali unit as we filmed in Kolkata Bolpur, Jalpaiguri and a tea estate in Siliguri where we stayed in managers’ bungalows but otherwise in small guest houses where it was difficult getting even a cup of real coffee. Chasing swarms of butterflies during the day and watching the fireflies dance around the bonfires at night, I learnt ‘bangla’ from the ‘gang’ I still know as friends. By the time the film wrapped up, I felt confident to dub my lines with Goutam da encouraging and helping me out.
Usually I finish my dubbing really quickly, but for this film I took three days. I learnt to distinguish between ‘ao’ and ‘o’ but had a little trouble with the accent. Goutam da reasoned that it was okay if it was not perfect because my character had just returned from the US. I consider learning ‘Bangla’ for the film a personal and professional milestone. It helped when I played Ashima in Mira Nair’s 2006 film, The Namesake (right), a role which required me to speak a few lines in Bengali.After Maqbool, I did two levels of Spanish and two years ago, two levels of French. I get to try out my Spanish when I visit my family in California but I haven’t spoken French in a while and must have completely forgotten it. But my bong connection is as strong as ever. Much to my pride and delight, today I can speak the language fluently.
Aamir, Salman Khan, Priyanka Chopra, Deepika, Aishwarya, Big B invited to have a say at Oscars
8:13 AM
B’wood
actors to filmmakers and technicians, the Academy, in its most diverse
list yet, invited a record 774 film personalities to be new members
Sanyukta Iyer (MUMBAI MIRROR; June 30, 2017)
On Wednesday, the Academy of Motion Picture Arts and Sciences issued a record 774 invitations to new members, which included 14 Indian film personalities, outdoing its record of 683 invitations in 2016.
Rubbing shoulders with Hollywood stars Chris Evans, Riz Ahmed, Dwayne Johnson and Kristen Stewart are Amitabh Bachchan, Aishwarya Rai, Aamir Khan, Priyanka Chopra, Deepika Padukone, Salman Khan and Irrfan Khan. Internationally acclaimed filmmakers Mrinal Sen, Goutam Ghose, Sooni Taraporevala and Buddhadeb Dasgupta, documentary filmmaker-activist Anand Patwardhan, costume designer Arjun Bhasin and sound designer Amrit Pritam Dutta have also made the cut. Also in the list are India-born Mohit Kallianpur and Mahesh Ramasubramanian, who’ve done the animation and visual effects of films like Frozen and Shrek.
Patwardhan hailed the move as “surprising but much-needed”. He pointed out that for a long time the Oscars have been dominated by American and British ideologies and Hollywood has been pushing the American propaganda. “Apart from horror, the James Bond franchise and war films, powerful and progressive pieces of work need to be brought to the forefront,” he asserted, citing Michael Moore’s 2003 win, Bowling for Columbine (Best Documentary Feature) to emphasise how he used the platform to speak up about the Iraq war and rebel against the media. “Since there is a fairly closed system of naval-gazing at the Oscars, more people from different countries will fuel the rebel culture and that’s a healthy sign.”
However, his enthusiasm is tinged with scepticism as he wonders if all 14 Indians will actually be flown to Los Angeles for the ceremony or will it be only the stars. “How are they going to fit all 774 people?” he ruminates but says he’ll definitely exercise his vote.
Dasgupta is not only an invitee but also a member of the jury. “It’s a huge honour and I am definitely going to make my presence felt. I don’t care about categories, I plan on enjoying all kinds of good cinema,” he exults, insisting the number of Indian invitees will have no bearing on India’s performance at the awards.
In the last 80 years, only three Indian films – Mother India, Salaam Bombay and Lagaan-- have made it to the last five in the Foreign Language category, with Mother India losing to Federico Fellini’s Nights of Cabiria by a single vote. “It is difficult to lobby for an Oscar at a ceremony dominated by English-speaking content. A country like India should be allowed a minimum of four-five entries and Indian federations need to write to the Academy on this,” suggests Ghose, speaking from Satara where he is scouting locations for his next film. The National Award winning filmmaker learnt of his invitation through the media.
Taraporevela who wrote the screenplays of Mira Nair’s Mississippi Masala, Salaam Bombay and The Namesake before making her own film Little Zizou, has been a member of the Writers Guild of America since 1988. She woke up to an email congratulating her and woke up her husband with a delighted scream. “They used to choose actors and technicians of Oscar-nominated films before, now they have opened up the field. I’ve been a working screenwriter for nearly 30 years and in my mind, this is a prize for staying the course and not giving up,” she says.
Speaking to Mirror from New York, where he is presently filming his next Hollywood film Puzzle, Irrfan agreed that invitations to Indian actors would impact the representation of Indian film in the Foreign Language category. “But they don’t work as a boosting mechanism and will have no effect on the kind of movies we make in India. I am excited because I will now be updated on the nominated movies and as a privileged member of the Academy, I’ll get to watch them before the voting process,” he avers.
The actor whose repertoire boasts of Ang Lee’s Life of Pi and Dany Boyle’s Slumdog Millionnaire, has walked the Oscar red carpet in 2009 but adds that now that he’s an official member, “his fondest memory is yet to come!”
Priyanka Chopra is presently filming in New York for her second Hollywood film, A Kid Like Jake. “I’m so grateful, such an honour! I’m excited about the Academy inviting me and all these amazing women into the fold. There’s Naomi Harris, Gal Gadot, Leslie Jones… It’s so good to see all these wonderful women on the list. And it’s good that the Academy included some guys too,” she quipped.
On Wednesday, the Academy of Motion Picture Arts and Sciences issued a record 774 invitations to new members, which included 14 Indian film personalities, outdoing its record of 683 invitations in 2016.
Rubbing shoulders with Hollywood stars Chris Evans, Riz Ahmed, Dwayne Johnson and Kristen Stewart are Amitabh Bachchan, Aishwarya Rai, Aamir Khan, Priyanka Chopra, Deepika Padukone, Salman Khan and Irrfan Khan. Internationally acclaimed filmmakers Mrinal Sen, Goutam Ghose, Sooni Taraporevala and Buddhadeb Dasgupta, documentary filmmaker-activist Anand Patwardhan, costume designer Arjun Bhasin and sound designer Amrit Pritam Dutta have also made the cut. Also in the list are India-born Mohit Kallianpur and Mahesh Ramasubramanian, who’ve done the animation and visual effects of films like Frozen and Shrek.
Patwardhan hailed the move as “surprising but much-needed”. He pointed out that for a long time the Oscars have been dominated by American and British ideologies and Hollywood has been pushing the American propaganda. “Apart from horror, the James Bond franchise and war films, powerful and progressive pieces of work need to be brought to the forefront,” he asserted, citing Michael Moore’s 2003 win, Bowling for Columbine (Best Documentary Feature) to emphasise how he used the platform to speak up about the Iraq war and rebel against the media. “Since there is a fairly closed system of naval-gazing at the Oscars, more people from different countries will fuel the rebel culture and that’s a healthy sign.”
However, his enthusiasm is tinged with scepticism as he wonders if all 14 Indians will actually be flown to Los Angeles for the ceremony or will it be only the stars. “How are they going to fit all 774 people?” he ruminates but says he’ll definitely exercise his vote.
Dasgupta is not only an invitee but also a member of the jury. “It’s a huge honour and I am definitely going to make my presence felt. I don’t care about categories, I plan on enjoying all kinds of good cinema,” he exults, insisting the number of Indian invitees will have no bearing on India’s performance at the awards.
In the last 80 years, only three Indian films – Mother India, Salaam Bombay and Lagaan-- have made it to the last five in the Foreign Language category, with Mother India losing to Federico Fellini’s Nights of Cabiria by a single vote. “It is difficult to lobby for an Oscar at a ceremony dominated by English-speaking content. A country like India should be allowed a minimum of four-five entries and Indian federations need to write to the Academy on this,” suggests Ghose, speaking from Satara where he is scouting locations for his next film. The National Award winning filmmaker learnt of his invitation through the media.
Taraporevela who wrote the screenplays of Mira Nair’s Mississippi Masala, Salaam Bombay and The Namesake before making her own film Little Zizou, has been a member of the Writers Guild of America since 1988. She woke up to an email congratulating her and woke up her husband with a delighted scream. “They used to choose actors and technicians of Oscar-nominated films before, now they have opened up the field. I’ve been a working screenwriter for nearly 30 years and in my mind, this is a prize for staying the course and not giving up,” she says.
Speaking to Mirror from New York, where he is presently filming his next Hollywood film Puzzle, Irrfan agreed that invitations to Indian actors would impact the representation of Indian film in the Foreign Language category. “But they don’t work as a boosting mechanism and will have no effect on the kind of movies we make in India. I am excited because I will now be updated on the nominated movies and as a privileged member of the Academy, I’ll get to watch them before the voting process,” he avers.
The actor whose repertoire boasts of Ang Lee’s Life of Pi and Dany Boyle’s Slumdog Millionnaire, has walked the Oscar red carpet in 2009 but adds that now that he’s an official member, “his fondest memory is yet to come!”
Priyanka Chopra is presently filming in New York for her second Hollywood film, A Kid Like Jake. “I’m so grateful, such an honour! I’m excited about the Academy inviting me and all these amazing women into the fold. There’s Naomi Harris, Gal Gadot, Leslie Jones… It’s so good to see all these wonderful women on the list. And it’s good that the Academy included some guys too,” she quipped.
I was in Mumbai and it is a Majid Majidi film, so I came on board-Goutam Ghose
7:49 AM
Filmmaker Goutam Ghose plays a small but significant role in the Iranian director’s next
Natasha Coutinho (MUMBAI MIRROR; March 8, 2017)
National Award-winning filmmaker Goutam Ghose is excited about facing
the camera for acclaimed Iranian director Majid Majidi’s next. Zee
Studios and Eyecandy Film’s Beyond the Clouds is currently being shot in
Mumbai. Speaking to Mirror, Ghose says, “I’m halfway through and have
just two days of work left. As a filmmaker, it’s exciting to work with
another director. He has a translator to communicate his instructions
from Persian to English but given his involvement it’s like we’re
speaking the same language. The film doesn’t have any big stars, but
Majidi is a star himself.”Goutam, who has previously appeared in Srijit Mukherji’s Bengali film, Baishe Srabon and Chotushkone, reveals his scenes are with Ishaan Khatter and Malvika Raaj. “I was prepping for my Hindi-English-Italian trilingual whose working title is Lala and has a mix of Indian and Italian actors. We’re looking for a 12-year-old Indian boy to play the lead. Meanwhile, Majidi’s casting director, Honey Trehan, suggested I do this small but significant role in Beyond The Clouds. I was in Mumbai and it is a Majidi film, so I came on board,” he signs off.
Certification of films sans scissors recommended to Centre
8:09 AM
MUMBAI MIRROR (June 13, 2016)
Certification of films “sans
scissors“ has been recommended to the Information & Broadcasting
Ministry in a report submitted by the Shyam Benegal-led Censor Board
Revamp Committee, in
formed filmmaker Goutam Ghose who is a member of the board. “MIB
Minister, Arun Jaitley has also come forward on this. I can't say
everything officially because I am a part of the committee but in the
future, certification of movies without scissors has been recommended to
the ministry. This is a very big step forward... without scissors,“
Ghose asserted.
Other members of the committee included film actor Kamal Haasan, filmmaker Rakeysh Omprakash Mehra, ad-man Piyush Pandey, film critic Bhawana Somaaya and NFDC Managing Director Nina Lath Gupta. The Benegal panel, in its report submitted on April 26, urged the government to lay down a “holistic framework for certification of films.“ And Jaitley on Thursday had said the ministry will soon announce some radical changes in the existing system of film certification.
Other members of the committee included film actor Kamal Haasan, filmmaker Rakeysh Omprakash Mehra, ad-man Piyush Pandey, film critic Bhawana Somaaya and NFDC Managing Director Nina Lath Gupta. The Benegal panel, in its report submitted on April 26, urged the government to lay down a “holistic framework for certification of films.“ And Jaitley on Thursday had said the ministry will soon announce some radical changes in the existing system of film certification.
A look at the Indian films that have been screened at the Cannes over the years
7:43 AM
Shakti Shetty (MID-DAY; May 15, 2014)
The 67th edition of the Cannes film festival kicked off yesterday with the screening of the Nicole Kidman-starrer, Grace of Monaco.
Uday Chopra happens to be one of the producers of this biopic. However, he’s not the only Indian face at the French Riviera this year. Along with the usual dose of Bollywood glamour (read: Aishwarya Rai-Bachchan, Sonam Kapoor and many more), this year will see director Kanu Behl keeping his fingers crossed even as his film Titli competes in the Camera d’Or category, which acknowledges the best debut effort.
Interestingly, over the years, several films have been screened at Cannes but none have won an award in the competitive categories. hitlist takes you down the memory lane to look at films from India that were not only screened at the prestigious film fest but also won laurels...
'Neecha Nagar' (1946)
Director: Chetan Anand
The lowdown: When the Cannes Film Festival was held for the first time after the World War II in 1946, this Hindi film bagged the Palm d’Or (Golden Palm) along with 10 other entries from around the world.
'Do Bigha Zamin' (1953)
Director: Bimal Roy
The lowdown: Heavily inspired by Bicycle Thieves (1948), this Bengali film — starring Balraj Sahni and Nirupa Roy in leading roles — won the Golden Palm along with eight other movies.
'Boot Polish' (1954)
Director: Prakash Arora
The lowdown: A Raj Kapoor production, the film’s socialist approach was difficult to ignore but its story won the audiences over. To add to this, the festival made a special mention of child actress Naaz who rendered a heartwarming performance in the film.
'Pather Panchali' (1955)Director: Satyajit Ray
The lowdown: This film is counted among Ray’s best works. At the Cannes film fest, it unanimously won the Best Human Document award.
'Gotoma the Buddha' (1956)
Director: Rajbans Khanna
The lowdown: The film’s title may have not been conventional but its message was clear. This feted documentary was nominated for Palm d’Or and it won a special mention for the director who, interestingly, never made another film.
'Kharij' (1982)Director: Mrinal Sen
The lowdown: This Bengali film was nominated for the Palm d’Or, which was won by the Japanese film, The Ballad of Narayama. However, Sen didn’t return home emptyhanded as he was awarded the Jury Prize.
'Salaam Bombay!' (1988)
Director: Mira Nair
The lowdown: Before it became the second Indian film to be nominated by the Academy, this Camera d’Or (Golden Camera) winning film bowled over critics as well as the public at Cannes.
'Piravi' (1989)
Director: Shaji N. Karun
The lowdown: Just a year after Salaam Bombay! took the honours, this Malayalam feature film — it deals with rural and urban disparity — earned a special mention in the Camera d’Or category.
'Marana Simhasanam' (1999)Director: Murali Nair
The lowdown: This Malayalam film threw light on the relationship between elections and idiocy in the country. It won the Camera d’Or — a feat yet to be repeated by an Indian film.
'The Lunchbox' (2013)
Director: Ritesh Batra
The lowdown: Although it didn’t win a major award in the competition category at the 66th Cannes Film Festival, it bagged the Grand Rail d’Or.
Filmmakers speak out: Why aren’t we winning top honours lately?
Dibakar Banerjee, producer of Titli
"I haven’t had the time to think about it. Maybe because it’s not an important issue."
Goutam Ghose, filmmaker
"It’s unfortunate because our films haven’t really matched the standards set by the Cannes jury. Of late, there have been many interesting Indian films but the question has always been the same: How rooted to Indianness are they?"
Buddhadeb Dasgupta, filmmaker
"There is no dearth of good films in our country but how many make it to Cannes, or for that matter, other international festivals? Maybe the required channels for such films are missing and that should be our concern."
Govind Nihalani, filmmaker
"To win an award at a film festival, your film should be in the competitive category. In the past few years, we’ve read about films travelling to Cannes, but I don’t think many were competing for awards. So winning anything big is out of the question."
"I haven’t had the time to think about it. Maybe because it’s not an important issue."
Goutam Ghose, filmmaker
"It’s unfortunate because our films haven’t really matched the standards set by the Cannes jury. Of late, there have been many interesting Indian films but the question has always been the same: How rooted to Indianness are they?"
Buddhadeb Dasgupta, filmmaker
"There is no dearth of good films in our country but how many make it to Cannes, or for that matter, other international festivals? Maybe the required channels for such films are missing and that should be our concern."
Govind Nihalani, filmmaker
"To win an award at a film festival, your film should be in the competitive category. In the past few years, we’ve read about films travelling to Cannes, but I don’t think many were competing for awards. So winning anything big is out of the question."
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