Filmmaker Shoojit Sircar has been on the receiving end of criticism and praise in equal measures for his recent film Sardar Udham. The filmmaker, who had a masterclass at IFFI (International Film Festival of India) recently, spoke to us about his life post the film, whose story he had lived with for over 21 years. Excerpts:

You sometimes feel you have nothing left to do anymore. Kabhi kabhi hota hai aisa. The film was mounted on a big canvas, though we tried to not make it too big. Now, after the movie is over, suddenly I feel like I don’t know what to do. There is an emptiness that creeps in. Ronnie (Lahiri, the co-producer) and I have ideas and we keep talking about them, and discussing them, but it’s hard to get rid of that khaalipan, that vacuum created after Sardar Udham went out of our system. Both Ronnie and I had never thought it would go through the way it did. It’s like there was a little storm which has now blown over, and now we don’t know what to do.

You have to keep nurturing yourself. This is a very crucial period and often, people end up making wrong decisions during this phase. You want to quickly start something and put it out there. But the better way out is to remain calm and do things with proper thought and planning. Creatively, you have to keep yourself engaged and active — you have to keep the fire burning. Sometimes, you can do it through cinema and sometimes, you just do things like gardening, playing football or reading something or watching something.

Yes, that’s right! I regularly go to north Bengal where I was born. I grew up there and I spent my childhood in those places that I visit even now. It’s very peaceful. I’m going to stay in Goa for some time now and do some reading there. I also plan to jam with my researchers and see what we can arrive at. I am not in a hurry to make a new film.

Look, I have realised that criticism is something that you have to take. You can’t escape it and it’s a part and parcel of the work we do. You have to be ready for it and for observations that people make. Also, as a creative person, you cannot possibly cater to everyone and to everything that is asked of you. As Ronnie said during our masterclass session, we did not and we have not compromised on Sardar Udham in any manner. Yes, we may have made mistakes. We will go through the content and whatever mistakes we can identify, we will make a note of it and make up for it in our next films. The idea is to not repeat those mistakes again. I am absolutely not worried about criticism. It can affect you depending on the way you take it. Sometimes, criticism is very healthy and helpful. You have to know which part of criticism is important for you. Sometimes, you have to just let criticism pass and sometimes, you have to hold on to the things people tell you. I believe in taking just those points that are beneficial, learning from those and taking it forward.

Frankly, I don’t know what I will do with the material that I am left with from the film. There is a lot of research that I have. I have heard that Ram Madhvani is making a film on Jallianwala Bagh. I might give it to him. I would love to offer him all my research. It’s a creative and competitive line but I have told everyone that I am ready for any discussion on this subject. I have books that have been marked out, taped and set aside. I can help anyone who needs help on research on this subject.

I am very scared of expectations, please don’t expect anything from me. The next movie that I make may not cater to everyone. So far, I have tried to make films that I am happy about. The subjects Ronnie and I are discussing are about films that are completely out of the box. So, don’t expect anything from me. And frankly, expectations scare me a lot!

Over the years, Hrithik Roshan has impressed the audience with the array of characters that he has portrayed on screen. He is the kind of actor who has dared to take chances and experimented with roles that broke the mould of a quintessential Bollywood hero. In a conversation at a virtual interaction at the 52nd International Film Festival of India (IFFI), Hrithik opened up about the process he goes through to deep dive into his characters.

“The first thing is to find a connection with the character in the script. Once you have laid that foundation where you know that the emotions that your character is going through resonate with you, then half the job is done. From there starts the whole journey of seeking and searching. You are constantly searching to find that guy (character) within you. The way he looks, walks, etc, depends on how close that character is to you. And magic happens when you find the edge (to the character).”

As an actor, Hrithik says that he also takes inspiration from his real life to add to a scene. He shares, “I am an actor who takes inspiration from my own life. I am usually sifting through my memories and experiences and trying to bring out something, which is a secret in my head, onto the camera.”

Interestingly, at times the actor also gets drawn to his character so much that he refuses to part ways with them. “There are times where you get emotionally attached to a character, and you don’t want to let go of it.”

Hrithik said, “It is something that you hold close to yourself. I felt that when I did films like Koi… Mil Gaya and Kaabil. It’s like you are living and staying with certain emotions. They can fill you up with nice feelings, and to not have an opportunity to stay with those feelings, is kind of heartbreaking. It remains with you in the most beautiful way. All the characters that I have played in films and the remnants of those have always stayed with me. And I have also used them in the other films, which I have done. Something like recycle and reuse (smiles).”

Hrithik also spoke up about the advent of the digital medium in the last couple of years, especially because of the kind of talent it has introduced in the cinema space. He said, “I am delighted about the fact that so many new actors have come in. The scope has gone up, and the talent that I have been watching on screen is just so incredible! It makes me happy as I feel that all kinds of people in our social environment need to be represented in beautiful ways on screen. With that, I feel that the mould of a superstar, which had been created, is breaking. There was this fixed mould of a superstar that actors had to fit into. And it was very disconnected with what is real. This mould, I feel, is evolving into something better. I think it can now be customized! So, for all those who want to make it now, they should be putting in a lot of hard work. Actors must train themselves for five-six hours a day. You need to think about yourself like an Olympic athlete. How many hours a day does an athlete train? Are you doing that too?”

If I have to choose between writing or singing something that I like and something that can inspire, I will choose the latter,” said screenwriter and lyricist Prasoon Joshi during his masterclass at the 52nd International Film Festival of India (IFFI) in Goa. He added, “When I wrote Bhaag Milkha Bhaag, I often thought to myself if this piece of work could inspire more people in this country. Self-expression should in some manner attach itself with the larger good.”

Lauding the film festival for handpicking budding artistes through the 75 Creative Minds of Tomorrow competition, launched as part of the Azadi Ka Amrit Mahotsav this year, Prasoon said, “Cinema has to have magic, but making cinema should not be magic. It is a serious craft. We have to make it by design and not by default. Tukka or chance has to be reduced. When a child in a family says that he wants to become a singer, filmmaker or lyricist, the family should be able to take them as seriously as they would take him if he said he wanted to be an engineer or a doctor. That will happen when we start working towards serious exposure and learning.”

He added, “We also have to focus on getting more authentic with our stories. Many people have told me that they have made films about villagers and farmers without interacting with them. Unless more and more filmmakers come from various parts of our country, different milieus, different language sects, we won’t see diversity. Filmmaking is a business that generates employment. It should not be seen as akin to gambling. One should be assured of their craft.”

As the head of the Central Board of Film Certification (CBFC), Prasoon has overseen the certification of over 25,000 films nationally in his tenure. Given that his run has been more or less dispute-free, he was asked about his approach to the job. “There is a certifying process, and it is complex because our country is one of the most complex in the world with its cultural diversity in place. My approach was to open a discussion to find solutions, understand and accommodate different points of view. While talking about commerce and share of wallet, you cannot ignore the share of voice,” he said.

Goa: At the star-studded inaugural of the 52nd International Film Festival in Goa, Union information and broadcasting minister Anurag Thakur said India should become the preferred destination for world cinema and a global hub for content and post-production of films.

“India can captivate the world by narrating its story. The story of a rising, powerful, vibrant billion ready to lead the world the Indian way. Further, the film and entertainment industry has huge employment opportunities as we leapfrog into the digital era of content filmmaking and not forget about film archiving for the future generations,” he said.

The IFFI also conferred the first ‘Satyajit Ray Lifetime Achievement’ award on filmmakers Martin Scorsese and Istvan Szabo, and the ‘Film Personality of the Year’ award on actor and Lok Sabha MP Hema Malini.

In a video message, Scorsese said, “He is one of the filmmakers whose work I’ve returned to over and over again over the years throughout my life. Every time I see his films again, like ‘Apu Trilogy’ or ‘Charulata’, it is a whole new experience for me. They are the same films but somehow they deepen, become enriched within the feelings over the years.”

The 52nd edition of the International Film Festival of India (IFFI), one of India’s most prestigious film festivals, is slated to start on November 20 in Goa. And for the first time, video streaming services have been invited to be a part of the festival. Amazon Prime Video, which is closing in on half a decade of entertaining India, is participating to bring an exciting line-up for festival goers.

“Over the last five years, we have actively worked towards taking local stories, from different corners of India to viewers across the country and the world,” said Gaurav Gandhi, Country Head, Amazon Prime Video, India, adding, “Besides bringing cultures and people together through the power of entertainment, this has also allowed us to discover new, prolific storytellers and talent, and contribute meaningfully to India’s vibrant creative economy. We are honoured to be a part of IFFI, an event that celebrates the diversity and rich cinematic heritage of India, and brings the entertainment community, content creators and talent together.”

The premiere of Chhorii at IFFI will be attended by Nushrratt Bharuccha, director Vishal Furia and producers Vikram Malhotra (Abundantia Entertainment), Jack Davis (Crypt TV) and Manish Menghani, Head Content Licensing, Prime Video India. The Family Man Masterclass will be conducted by its creators and cast, including Raj & D.K. (Raj Nidimoru, Krishna DK), Aparna Purohit, Head India Originals at Amazon Prime Video, Samantha Ruth Prabhu and Manoj Bajpayee (joining virtually), while Shoojit Sircar and Ronnie Lahiri will conduct the master class on Sardar Udham.

The collaboration is a testament to IFFI and Prime Video’s common goal of promoting excellence in cinematic art. With world premieres in 240 countries and territories, the streaming service has exported local stories from the best Indian talent to the global stage.

For the first time ever, the 52nd International Film Festival of India (IFFI), which will be held in Goa from November 20-28, will feature screenings and masterclasses by OTT players. Not only will stars from shows and films on streaming platforms feature prominently at the fest, it will also see premieres of major OTT content.

Anurag Thakur, Minister of Information and Broadcasting, says, “For the first time ever, IFFI has invited major OTT players to participate at the film festival. The trend of watching movies on OTT is on the rise and IFFI is embracing new technology and providing a platform for industry artistes to interact with OTT players.” Here are the major highlights from this year’s edition of the fest:

As cinemas were shut during the pandemic, film releases shifted to OTT platforms, which have thrived in the last two years, and even won major film awards across the globe. I&B officials say that the audience’s interest is shifting to streaming platforms that are also releasing films and web series by major Indian directors, and the festival’s program was designed keeping this in mind. Besides, as IFFI offers a platform to makers, artistes, and the audience to come together and discuss cinema, the presence of streaming platforms is important as well. Manoj Bajpayee and Samantha Ruth Prabhu – lead actors of The Family Man 2 – are expected to attend the opening ceremony of the festival.

Streaming platforms have been participating at major film festivals across the world, including the Venice and Berlin film festivals. At IFFI, they will be participating in a hybrid format. A three-day virtual masterclass will be organised by the Paris-based school of image and arts, Gobelins – School L’image. The Power Of The Dog, which had its world premiere at the 78th Venice International Film, will also see its India premiere at the fest.

A preview of the first episode of the Indian series Aranyak is also scheduled. Kartik Aaryan will most likely introduce his film Dhamaka at the festival, which has also lined up masterclasses by makers and writers of some of the most popular series on OTT platforms. including Scam 1992 screenplay writers Sumit Purohit and Saurav Dey, Maharani screenplay writer Nandan Jha, and The Family Man makers Raj Nidimoru and Krishna DK.

During a discussion at the recently concluded 51st International Film Festival of India (IFFI), writer and lyricist Prasoon Joshi spoke about how he dealt with controversies and controversial films in the last three years during his tenure as the Central Board of Film Certification (CBFC) chairman.

During the last three years, Prasoon has seen many objections and protests against films, which were based on historic and political figures. Talking about how he dealt with such controversies, he said, “Ek saccha kalakar kabhi kisi ko nuksan pahunchane ke liye film nahi banata. Before coming to the CBFC, I probably never thought about how people see art. But one thing I have always understood is that a river has a different meaning for the one who is fighting its waves and for the one who is standing at the shore. It is the same river, but its interpretation is different for both of them — for one person, the river is aggressive and for the other, it is calm. Hence it is possible that the intent behind making a piece of art was different, but it is interpreted in a different manner. Lagaatar uss par baat-cheet karte rehna aavashyak hai. When I accepted the position of the CBFC chairman, I felt the need to keep this discussion open, and I was able to resolve many such issues.”

Prasoon said that whether its mythological, historical or political subject, filmmakers must do their research and discuss the subject with experts of that particular field. Also, intent is key, “Jab koi iss tarah ke vishay par film banata hai, ya natak banata hai, jo logon ki bhawnaon se jude hue hain, then the foremost thing is that your intent should be to do justice to the subject/character. Aapke camera angle se aapka intent pata chal jaata hai. Next question is, whether you have researched the subject enough or not? Did you discuss it with the experts of that field? Unless you discuss it with the experts, you have no right to comment on it. I always advise that if you don’t understand the subject, then you should definitely collaborate with subject experts to understand the topic,” he said.

He added, “There has to be a sense of trust between the creator and the receiver. Jiske liye aap kala bana rahe hain agar uska apke prati vishwas nahi raha toh nuksan hoga kala ka. Kyunki kalakaar aur sunne wale (audience) ke beech vishwas ka setu hamesha jeevit rehna chahiye, baaki regulatory bodies toh aati jati rahegi. Uss vishwas ko jeetna padta hai, us vishwas ko kamana padta hai.”

“Desh ke liye daude toh kisi ne na poochha, ab baaghi ban gaye toh sab yahi naam jap rahe – Paan Singh... Paan Singh...” The lines reverberated in the dark auditorium as International Film Festival of India (IFFI) paid homage to actor Irrfan Khan with a screening of his classic Paan Singh Tomar on Friday. The show was attended by his wife, writer Sutapa Sikdar, and elder son Babil.

Babil spoke to about how tough the last year had been for the family. “But losing someone is a part of evolution, it’s not something to get scared of or something you don’t want to go through. It’s a very beautiful part of a process of growing up and evolving. Pain is essential and important and we are going through it head on.”

Babil remembers his father as a beacon of encouragement. “He used to love it when I would send him suggestions. He always encouraged me. He toh was like a teenager and child. We used to play football and he used to tell me that I’m cheating. He was the wisest amongst us but he was also like a baby.”

Remembering their time at their Madh Island home in Mumbai, Babil said, “He loved all animals but would get annoyed by crows. So we would build these traps so he could catch the crow without hurting them and he would talk to the crow and ask them, ‘Why did you disturb me when I was sleeping?’”

The 51st International Film Festival of India (IFFI) is paying homage to the stars we lost last year. On Friday, to pay homage to Irrfan, Paan Singh Tomar was screened, which was attended by the late actor’s wife Sutapa Sikdar and elder son Babil.

Remembering Irrfan, Sutapa said, “There have been many tributes, but this one is special. It’s nostalgic and (reminiscent of) very fond, special memories. I remember us (her and Irrfan) going to IFFI as students. At that time it used to happen in Delhi. After the shows, we’d have cutting chai and drown ourselves in conversations about cinema. I remember Irrfan having dreams in his eyes. It’s an honour to be given tribute by the same institute — IFFI. I’m happy to be here. It is a very brave decision. It is the first time I have come out of home. But I had to, as one needs closure to walk ahead, and IFFI is a closure for me. It’s like being there for what we have done 30 years ago as students.”

Sutapa added, “It feels nice that we are here together to celebrate the person, and IFFI couldn’t have chosen a better film, as this film talks about a race, an athlete. In my way, not definitely as good as Irrfan, here’s a dialogue — ‘Ek race ko poora karna padta hai. Chahe haar ho chahe jeet ho, ek finish line hai, usko chhoona padta hai.’ Irrfan’s finish line came too soon, but he played well.”

On Tuesday, Nila Madhab Panda’s first Odia film, Kalira Atita (Yesterday’s Past), was screened in the Indian Panorama section at IFFI. The Pitobash Tripathy-starrer is the story of a man and sea, and it discusses the issue of seawater ingression. It was also one of the finalists for India’s official entry for the Oscars. Nila, who attended a film screening after almost a year, was impressed with the safety measures at the venue and the decor, and was happy to see cinephiles enjoying the film festival.

Talking about attending a film festival amid the pandemic, Nila tells us, “Due to the pandemic, IFFI may feel quite different this year. But I’d say it is as good as the previous years, in fact, it is even better. The only difference is people are wearing masks. One has to be at IFFI in Goa to see how officials have reinvented it for the pandemic. IFFI 2021 is a mixture of virtual and outdoor events to adapt to the COVID-19 era. You can feel the love and magic of cinema at IFFI, and it is a reminder of how cinema has fought Coronavirus.”

Nila says, “When I entered the auditorium, I realised that I’m entering a theatre after almost 11 months. When I came to attend the screening of my film in Goa, I was a bit apprehensive whether people would come for the screening or not, if there would be any decor this year, will it feel like previous years or not. Mujhe laga mahaul dukhi sa ho hoga. But I felt so good being here, it was just as good as the previous years. The decorations are beautiful, people are so friendly and the air is fresh. So much of efforts have been put into making the fest a success.” He adds, “I’m here for four to five days, and will be attending physical screenings of other films too.”

Speaking at a session on women leaders impacting entertainment and cinema at Film Bazaar, organised by NFDC Film Bazaar on the sidelines of IFFI, TV and film producer Ekta Kapoor, Central Board of Film Certification (CBFC) member Vani Tripathi Tikoo and producer Srishti Behl Arya discussed how women have made inroads and broken glass-ceilings in the industry. They also spoke about the opportunities that exist for women in cinema today and shared their experiences, too.

Ekta Kapoor said that when she had started out, she was told that “films are a male medium and women are sort of dancers and they don’t get meaty parts”. She said, “When I started in television, first accidentally, and later deliberately, we started taking female-driven narratives. Then TV became an anti-thesis of films on a much larger medium, where women were empowered, their fashion sense became a talking point. Men were there, but they had to look good. It was no longer their narrative. The protagonist was a woman.”

She added, “If you create content with women wearing sarees, people call you regressive, if they wear swimsuits, they call it sexual. And I call them judgmental. I was telling someone the other day that I am probably the only person who has been criticized for being overtly progressive and at the same time, (for being) regressive and conservative. I can be one of the two, maybe I am both! This is what we need to fight – the terminology.”

Vani said that she thinks the glass ceiling in the cinema industry is cracking. She said, “All over the world when I go and talk about women in cinema, the mention of The Dirty Picture crops up. The movie was actually the beginning of the breaking of the glass ceiling. There were so many lessons learnt in that narrative. The first was that the more you judge a woman, the more she will turn around and give two hoots about it. That is the kind of judgment Ekta is talking about and that is the kind of judgment we face each day.”

Vani emphasised that in the last decade, The Dirty Picture has been the cusp of change. She said, “The propaganda used to be that if the protagonist of the film is a heroine, the film is not going to get financed, it is not going to get released. Ekta proved all of that wrong. So did Vidya (Balan, the protagonist of The Dirty Picture). From there came so many other films. So this decade belongs to this very narrative and this was the first huge crack in the glass ceiling; one kick more and it will be gone.”

The panelists discussed that some of the best directors, best cinematographers are women. Ekta said, “So many times I have girls working with me and I make one point to them – if you want to train with me, I have no problem, you can leave this job and go anywhere. But I don’t want you to tell me after four years of training that you left your job because you got married. Don’t waste these four years and somebody else’s seat. It is sad that (for women), a job is considered a hobby, and ambition is considered bad. If you have a hard-nosed attitude towards your job, you are considered a freak or temperamental or tyrant.”

Producer Srishti added, “The first battle is in our head and the first battleground is our home. We just don’t want ambition in a woman to be considered negative. We need to reach a point where we don’t need to tell the gender of the CEO to talk about parity.”

Vani emphasised how on-screen portrayal of women changed in the last decade. She said, “The realistic side of women, their ambitions and desires are portrayed. Earlier, it always was beautiful chiffon sarees and hero coming to rescue her. This has changed now.”

With Coronavirus restrictions in place, the opening ceremony of the 51st edition of the International Film Festival of India (IFFI) was a low-key affair, with just a handful of guests in attendance. The host, Tisca Chopra, welcomed the guests and opened the show with an introduction, which was followed by speeches by the dignitaries present.

Information and Broadcasting minister Prakash Javadekar struck a hopeful note in his speech at the inauguration, saying, “The COVID vaccine has been launched today and we are sure that when the 52nd IFFI happens in November this year, things will be back to normal.”

The chief guest, Kichcha Sudeep, a versatile film personality from the Kannada industry, said, “Cinema takes you around the world from your seat and gets you closer to the culture of countries across the world. It’s wonderful to see myself seated with wonderful personalities, and Priyadarshan, who is from the same fraternity as mine. Let cinema be the new pandemic and spread over the world.”

Several actors such as Anupam Kher, Madhuri Dixit-Nene, Ranveer Singh, Vidya Balan, Mohanlal, Siddhant Chaturvedi, Aparshakti Khurana, and others joined virtually. Other guests present included Goa Chief Minister Pramod Sawant and actor Manoj Joshi.

The event was big on performances, with singer Sonia Shirsat opening the show with the popular Hanv Saiba Poltodi Vetam which was adapted by Raj Kapoor as Na Maangoon Sona Chandi in his movie Bobby (1973). There were traditional dance performances by Goan artistes too.

The 51st edition of the International Film Festival of India (IFFI) will pay homage to 19 Indian film personalities and nine international personalities, who we lost last year, for their contribution to cinema with the screening of their films. The number of films in the homage section is the highest in recent years – last year, IFFI paid tribute to 13 Indian personalities.

An IFFI official says, “Unfortunately, last year we lost many geniuses from the world of cinema. We have curated the homage section to pay tribute to these geniuses, who immensely contributed to cinema. IFFI acknowledges their work, and we have planned a screening of their films.”

Among the films that will be screened are Irrfan’s Paan Singh Tomar, Rishi Kapoor’s Bobby and Sushant Singh Rajput’s Kedarnath. These will have physical screenings in Goa. Sushant’s Chhichhore will also be screened at IFFI, in the Indian Panorama section.

Costume designer Bhanu Athaiya, who won India’s first Oscar in 1983 for Gandhi, will be honoured with a screening of the film. Rahat Indori, who wrote Bumbro for Mission Kashmir, will be honoured with screening of the same film. Devdas will be screened to pay tribute to Saroj Khan.

Chadwick Boseman (right) – 42

Ivan Passer – Cutter’s Way

Goran Paskaljevic – Dev Bhoomi

Allen Daviau – The Extra-Terrestrial

Max Von Sydow – Extremely Loud & Incredibly Close

Sir Alan Parker – Midnight Express

Kirk Douglas – Paths Of Glory

Ennio Morricone – The Hateful Eight

Olivia De Havilland – The Heiress