One cannot deny that political repression can provoke extreme responses from filmmakers but film festivals are not radical spaces and appealing entirely to them cannot be politically fruitful. I propose that a clever work that manages to pass censorship locally can be a more valuable political weapon than a ‘bold’ film which is seen only by art-house audiences. The struggle against political repression is a local one within a country. But film festivals provide unique opportunities for filmmakers to report on their own milieus to the global cultural elite and this eventually paves the way for easier funding and international visibility. Films which address festival/art-house audiences exclusively also perpetuate global myths, and that is the thrust of this article.
An important aspect of international sales is having the required deliverables ready in time. The numerous licences, clearances, posters, teasers, trailers, subtitles, separate audio tracks to facilitate dubbing are all a must if a film is to be sold in the international markets.
One has to begin by convincing the crowd of one’s idea. As Pawan Kumar put it, “Your project will only attract like-minded people. They will come only if they have faith in you”. Kumar used Facebook and Blogging to reach out to as many people as possible. His target of Rs 51 lakh was achieved in 27 days.
Watch the Greek-born French filmmaker Costa-Gavras in conversation with German film critic Daniel Kothenschulte at Mumbai Film Festival 2013. He talks about the theme of resistance in his films, his introduction to cinema and much more.
Fire in the Blood is a very informative film which keeps one riveted for much of its 87 minutes. If there is criticism to be made, it is that it looks and sounds like a motivational film with an agenda favoring Indian drug companies, which are now being vociferously fought by US giants often in ways that are not fair. Morally, we cannot but be on the side of the film – and its strongly humanist appeal that lives are more important than the profits of drug companies.
A snippet of maverick French director Leos Carax in conversation with Ian Birnie at Mumbai Film Festival 2013 where he talks about his idea of cinema and Guru Dutt:
The 15th edition of the Mumbai Film Festival hosted a panel discussion on whether film festivals help films achieve success. On the panel were French co-producer of The Lunchbox Marc Baschet (ASAP Films), Filmmakers Umesh Kulkarni (Valu, Vihir, Deool) and Anand Gandhi (Ship of Theseus); and Peter Van Hoof, programmer of the International Film Festival of Rotterdam. The panel was moderated by Liz Shackleton, Asia chief, Screen International.
Anu Rangachar, the Program Director of Mumbai Film Festival, lists her 20 favourite films in the lineup.
To my mind, the film would have worked if their kinds of loneliness had been accurately delineated. This means that there need to be events designed to illuminate their states of mind to show that their relationship is deep and not just ‘time-pass’. For the relationship to be worthy of a film, it must go beyond a trite Facebook-level acquaintanceship, which is all the intensity that the director is able to muster in The Lunchbox.
The 38th edition of Toronto International Film Festival (TIFF) that kicks off today has lined up seven Indian films for screenings, out of which four are world premieres.