INDEX

8 14 18 20 22 26 30 32
INDIAN CINEMA M&E SECTOR EASE OF DOING FILMING IN AUDIO-VISUAL FILMING IN INDIA POLICY INITIATIVES AVGC-XR POLICY
SHINES @CANNES INITIATIVES BUSINESS INDIA CO-PRODUCTION INITIATIVES
TREATIES

33 34 38 40 45 54 58 71
COPYRIGHT AND IP GLOBAL MEDIA IFFI DESIGN INTERNATIONAL FILM BAZAAR MUMBAI NFDC NATIONAL
PROTECTION SUMMIT CONCEPT FILM FESTIVAL INTERNATIONAL ­ USEUM OF
M
OF INDIA FILM FESTIVAL INDIAN ­CINEMA
2024

76 82 86 90 108 112 122 124

NFDC-NFAI HIGHLIGHTS FROM HIGHLIGHTS FROM TOP FILMMAKING AVGC-XR HUBS INDIAN COMPANIES CANNES MARKET NFDC FILM BAZAAR
INDIAN FILM ANIMATION AND VFX CENTRES OF AT CANNES FILM SCREENINGS 2023 SUCCESS
­SECTOR 2023-24 2023-24 INDIA MARKET STORIES

126 130 134

CANNES MARKET FILM BAZAAR CONNECTING WITH
SCREENINGS SELECTION THE ­INDUSTRY
2023

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 FOREWORD
This year, ‘Bharat Parva’ (India Day) will be
celebrated at the 77th Cannes Film Festival, for
showcasing Indian culture to the international film
fraternity form prominent film commissions, film
festivals and also international guests & celebrities

Sanjay Jaju In the spotlight, we have Payal Kapadia’s

magnum opus, “All We Imagine As Light,”
has been working to expand opportunities in the
film industry. With co-production treaties already
Secretary poised to captivate audiences and vie for the signed with 16 countries and a streamlined
prestigious Palme d’Or. Notably, this marks a single-window facilitation and clearance
Ministry of Information and Broadcasting significant milestone as an Indian title graces mechanism for filming permissions, India
Government of India the Competition section after three decades. has emerged as an attractive destination for
The cinematic landscape is further enriched by filmmakers worldwide. With its robust animation
British-Indian filmmaker Sandhya Suri’s poignant & visual effects sector, India beckons filmmakers

I
ndia’s participation at the 77th edition of the narrative in “Santosh,” in Un Certain Regard to explore its complete filming solutions for
prestigious Cannes Film Festival is a moment alongside Karan Kandhari’s evocative “Sister creating their best best in India.
of immense pride and celebration for us all. As Midnight” in Directors’ Fortnight and Maisam
one of the most significant global film festivals, Ali’s compelling “In Retreat” in L’Acid. Moreover, The International Film Festival of India (IFFI)
Cannes holds great significance in terms of the Cannes Classics segment pays homage to which is 55 years old now, has created a niche
its impact on the worldwide film fraternity, and our heritage with the restored print of Shyam in the world of film festivals with attracting quality
India’s participation in this event only adds to its Benegal’s masterpiece, “Manthan.” international films in good numbers every year.
legacy. It is going to be bigger and better with the
In a historic moment, we celebrate the visionary upcoming editions.
India is a land of storytellers, breathtaking brilliance of cinematographer Santosh Sivan,
who becomes the first Indian to receive the I invite international filmmaking community to
landscapes, and abundant filming opportunities.
prestigious Pierre Angénieux Tribute for 2024, a visit the ‘Bharat Pavilion’ at the Cannes Film
Films play an important role in India’s rich cultural
testament to India’s indelible mark on the global Festival. As always, the Pavilion will offer a
heritage. Our more than 100-year-old film platform for showcasing the very best of Indian
stage.
industry has produced some of the finest works cinema and promoting international partnerships
in world cinema. As the largest film making India’s quest to extend its soft power globally and learning.
country in the world that produces about 3000 through the medium of cinema is propelled
feature films every year, India has much to offer by a vision to share its diverse narratives This year, ‘Bharat Parva’ (India Day) will be
to the international film community. with audiences across continents. With a celebrated at the 77th Cannes Film Festival, for
rich tapestry of stories spanning cultures, showcasing Indian culture to the international
As we embark on the journey to showcase languages, and traditions, Indian cinema serves film fraternity form prominent film commissions,
the vibrant tapestry of Indian cinema at the as a powerful conduit for cultural exchange and film festivals, production houses and also
esteemed Cannes Film Festival and Cannes mutual understanding. international guests & celebrities.
Film Market 2024, it fills me with immense pride
Our rich cultural heritage, film tourism I also extend my best wishes to all participants,
to witness this momentous occasion. This year
opportunities, and technological prowess in delegates, and filmmakers for a wonderful
marks a pinnacle for India at Cannes, as we
filmmaking provide a unique experience for experience at the Cannes Film Festival and
witness a convergence of talent, innovation, and
international filmmakers. Government of India Cannes Film Market.
storytelling prowess like never before.

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 One of the greatest strengths of contemporary a harbinger of her rich history, and the landscape
India is her ability to usher her traditional culture of creativity which denotes her direction for this
and practices into a re-imagined and decolonised year, at an international stage. Much like the India
modernity- we invite you to the India pavilion Pavilion at Cannes is an invocation of what she is
to experience her being sutradhara of the world set to create, and offer this year; the sutradhara,
stories, understand how she shapes visual culture, aptly is responsible to create an atmosphere of
and seek possibilities of collaboration. austerity, and establishes the scenes about to be
unfolded.
The ancient Sanskrit treatise, Nātyaśāstra, is
perhaps the oldest texts on the performing arts. The motif you see all around the India pavilion,
Estimated to be dated between 200BCE and is an abstract representation of the gifts bestowed
200CE, it presents a holistic view on dramatic upon the sutradhara by the Gods after their first
composition, structure of a play and the performance, “the pleased Indra gave his dhvaja
constitution of a stage to host it, genres of acting, (auspicious banner), Brahman a kutilika (curved
body movements, make up and costumes, role and stick fit to be used by the jester), Varuna his
goals of an art director, the musical scales, musical bhringara (golden pitcher), Surya an umbrella,
instruments and the integration of music with art Siva siddhi (success), and Vayu a fan. Visnn gave a
performance. sinhasana (lion seat), Kuvera a crown, and goddess
Saraswati gave visibility as well as audibility.”
It introduces a very peculiar character to the
readers, the sutradhara, which loosely translates to
a narrator. However, it encompasses a much wider, (Manmohan Gosh in his English translation of The Nātyaśāstra,
1951, Royal Asiatic Society, Bengal)
and prominent position within the text, almost
akin to the conductor of an orchestra. As we look
at India’s presence at Cannes Film Festival, she is

DESIGN PARTNER
National Institute of Design, Ahmedabad

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 INDIAN CINEMA SHINES @CANNES

Festival de

ALL WE IMAGINE SANTOSH

Festival de
Cannes 2024
Cannes 2024
Official
Un Certain Regard
by Sandhya SURI
AS LIGHT
Competition
Selection

by Payal KAPADIA
Year of production | 2024
Genres | Drama, Social issues, Crime
Year of production | 2024
Countries | INDIA, FRANCE, UNITED KINGDOM, GERMANY
Genres | Drama
Languages | HINDI
Countries | FRANCE, INDIA, NETHERLANDS, LUXEMBOURG
Cast | Shahanna GOSWAMI, Sunita RAJWAR
Languages | MALAYALAM, HINDI
Duration | 115 mn
Producer(s) | Mike GOODRIDGE (GOOD CHAOS), Gerhard MEIXNER (RAZOR FILM
Writer | Payal KAPADIA
PRODUKTION), Carole SCOTTA (HAUT ET COURT)
Cast | Kani KUSRUTI, Divya PRABHA, Chhaya KADAM, Hridhu HAROON

Producer(s) | Julien GRAFF (PETIT CHAOS), Ranabir DAS (Another Birth),

Govinda VAN MAELE (LES FILMS FAUVES)

Newly widowed Santosh inherits her husband’s job as a police

constable in the rural badlands of Northern India. When a low caste
In Mumbai, Nurse Prabha’s routine is troubled when she receives girl is found raped and murdered, she is pulled into the investigation
an unexpected gift from her estranged husband. Her younger under the wing of charismatic feminist inspector Sharma. In this crime
roommate, Anu, tries in vain to find a spot in the city to be intimate story an ordinary woman moves from housewife to policewoman in
with her boyfriend. A trip to a beach town allows them to find a one of the nation’s most corrupt forces. As she investigates, she
space for their desires to manifest. begins to experiment with her newly found power within a web of
misogyny, casteism and prejudice.

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 INDIAN CINEMA SHINES @CANNES

Festival

SISTER MIDNIGHT Directors’ Fortnight MANTHAN de Cannes 2024

CANNES Classics
by Karan KANDHARI by Shyam Benegal
Year of production | 2024 The 4K restored version of Manthan (1976), was digitised
Genres | Black comedy from the Picture Negative preserved in the collection of
Countries | UNITED KINGDOM NFDC-National Film Archive of India and the sound was
Languages | HINDI
digitised from a 35 mm RP from the collection of the Films
Writer | Karan KANDHARI
Cast | Radhika APTE, Ashok PATHAK, Chhaya KADAM Heritage Foundation.
Producer(s) | Alastair CLARK (WELLINGTON FILMS LTD), Anna
GRIFFIN (GRIFFIN PICTURES), Alan MCALEX (SUITABLE PIC- Presented by 500,000 farmers and shot in the village of
TURES) Sanganva, the film Manthan (1976) directed by Shyam
Benegal was based on a story idea by Dr. Verghese
Under the humid Mumbai nights, a small-town misfit Kurien, one of the lead minds behind the success of the
in a newly arranged marriage attempts to navigate an milk producers’ cooperative AMUL (Anand Milk Union
awkward spouse, nosy neighbours and her own feral Limited). Based on the beginnings of AMUL, the film
impulses. Radhika Apte stars in Karan Kandhari’s follows the pioneering efforts made by a group of villagers
SISTER MIDNIGHT, an original, funny and feral story of to put together a cooperative society dairy. The film, shot
revenge and breaking the cultural norm. by Govind Nihalani, featured a stellar cast.

SUNFLOWERS WERE Festival

de Cannes 2024 IN RETREA ACID Cannes

FIRST ONES TO KNOW La Cinef

by Maisam Ali
by Chidanand Naik Country: India, France
Year of production 2024
Languages | HINDI Production Varsha Productions and Barycenter Films
Shot by | Suraj Thakur (Thanikachalam SA)
Editor | Manoj V Co-production Salt for sugar films
Sound | Abhishek Kadam.
Producer | Film and Television Institute of India (FTII)

Maisam Ali’s In Retreat explores Ladakh’s physical as

This is a story of an elderly woman who steals the village’s well as philosophical side through a captivating story.
rooster, which throws the community into disarray. To bring Sometime between late fall and early winter, a man returns
the rooster back, a prophecy is invoked, sending the old home to a small mountain town. In his fifties, always
lady’s family into exile. absent and late, having missed his brother’s funeral, he
This is the first time a film by a student from 1-year Television lingers on the threshold of the old house - what more can
course has been selected at the prestigious Cannes Film he hope for to delay his arrival by one night?
Festival.

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 INDIAN CINEMA SHINES @CANNES

Festival

SANTOSH SIVAN de Cannes 2024

Pierre Angénieux
cinematographer Tribute

BHARATATCANNES
Celebrated Indian cinematographer Santosh Sivan on May 24 will
be honored with the prestigious Pierre Angenieux ExcelLens award
for his outstanding contributions to cinematography at the Cannes
Film Festival. This annual accolade recognizes leading international
directors of photography at the festival. Some of Sivan’s outstanding
cinematic works include “Story of Tiblu”, “Perumthachan”, “Roja”,
“Aham”, “Indira”, “Urumi”, and “Moha”. The recipients of the
Pierre Angenieux ExcelLens award in the past included legendary
cinematographers like Philippe Rousselot, Vilmos Zsigmond, Roger
Deakins, and Christopher Doyle, among others

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 M&E SECTOR INITIATIVES

MINISTRY OF INFORMATION
AND BROADCASTING
GOVERNMENT OF INDIA
to facilitating co-productions with foreign filmmakers.

T
he Ministry of Information and filmmakers, the ministry endeavors to showcase
Further enriching India’s cinematic landscape
Ministry of Heavy Industries and PublicBroadcasting
Enterprises serves as the custodian India’s cultural richness and cinematic prowess
is the Film and Television Institute of India
Ministry of Petroleum and Natural Gas of public communication, ensuring that to the world.
citizens are well-informed about the policies,
Ministry of Road Transport & Highways
(FTII), an esteemed institution renowned for its
Government of India schemes, and programs of the Government Central to the ministry’s efforts in promoting commitment to excellence in film and television
of India. Through a myriad of channels, Indian cinema is the National Film Development education. Through its rigorous curriculum and
Ministry of Information & Broadcasting including print, digital media, and broadcasting Corporation Ltd. (NFDC), an apex body state-of-the-art facilities, FTII nurtures budding
Government of India
platforms, the ministry endeavors to amplify the dedicated to fostering the holistic development filmmakers, equipping them with the skills and
government’s message, making it accessible to of the Indian film industry. Through its various expertise to thrive in the industry. Similarly,
WEBSITE citizens across the length and breadth of the initiatives, NFDC provides financial assistance the Satyajit Ray Film and Television Institute
nation. to debutant directors, promotes Indian films at in Kolkata serves as a beacon of professional
www.mib.gov.in international markets, and organizes flagship education, imparting technical proficiency in
Functionally organized into three distinct events like the International Film Festival of the art and craft of filmmaking and television
MINISTER FOR sectors - Information, Broadcasting, and Films India (IFFI), Mumbai International Film Festival production.
INFORMATION & - the ministry operates at the intersection of (MIFF), NFDC Film Bazaar, a premier platform
governance and media, wielding influence Amidst its multifaceted responsibilities, the
BROADCASTING for showcasing Indian cinema to global
in diverse domains. In the realm of private Ministry of Information and Broadcasting
Anurag Singh Thakur stakeholders. Moreover, the establishment
broadcasting, the ministry formulates policies remains steadfast in its commitment to
of the Film Facilitation Office (FFO) under
MINISTER OF STATE FOR and regulations to ensure adherence to ethical fostering transparency, creativity, and cultural
NFDC’s purview underscores the ministry’s
INFORMATION & standards, pluralism, and diversity of content. exchange. By harnessing the transformative
commitment to streamlining the filmmaking
BROADCASTING Simultaneously, it oversees the administration power of media and entertainment, the
process and positioning India as a preferred
Dr. L. Murugan of public broadcasting services through entities ministry continues to shape narratives, amplify
destination for filmmakers worldwide.
like PrasarBharati, thereby fostering a vibrant voices, and forge connections across diverse
SECRETARY
Sanjay Jaju media landscape that reflects the plurality of Complementing these endeavors is the communities, thereby catalyzing India’s journey
Indian society. Central Board of Film Certification (CBFC), a towards progress and prosperity.
ADDITIONAL SECRETARY statutory body tasked with regulating films for
Neerja Sekhar The Films Wing of the Ministry occupies a public exhibition in India. Operating under the
unique position, nurturing India’s thriving film provisions of the Cinematograph Act, 1952, the
JOINT SECRETARY
industry while championing its global outreach. CBFC ensures that films adhere to prescribed
(FILMS)
Governed by the Cinematograph Act, 1952, standards of morality, decency, and public
Prithul Kumar
this wing is entrusted with certifying films for order. With the advent of online certification
DIRECTOR (FILMS) public exhibition and promoting the nation’s facilities, the CBFC has embraced digital
Armstrong Pame cinematic offerings on the international stage. transformation, streamlining the certification
From organizing prestigious film festivals process and enhancing accessibility for

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 ENHANCED INCENTIVES BY
MORE THAN 12 TIMES SINCE
NOVEMBER 2023

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 EASE OF DOING BUSINESS

FILM IN INDIA Line Producers to

collaborate with in filming in India
AND GET INCENTIVISED

T
he Indian government, recognizing the collaboration aims to further enhance the EODB animation, visual effects, and post-production
transformative potential of the film industry, ecosystem for filmmakers by tapping into Invest projects require a minimum QPE of INR 10 million,
has made significant strides in promoting the India’s global network and expertise in marketing with similar bonus incentives for Significant Indian
Ease of Doing Business (EODB) for filmmakers, and outreach. Through Invest India’s extensive Content. The application process is streamlined,
both domestic and international. This initiative reach, the FFO aims to attract foreign investment with interim approval required before the start of
is part of a broader strategy to elevate Indian and facilitate international collaborations in the production and final approval within 90 days of
cinema on the global stage while stimulating Indian film industry. By aligning incentives with completion.
economic growth and cultural exchange. Through investment promotion, this partnership seeks to
a combination of streamlined processes and unleash the full potential of Indian cinema on the Indian Missions as Facilitators
lucrative incentives, the Ministry of Information and world stage. Indian Missions abroad play a crucial role in
Broadcasting is actively fostering an environment facilitating filmmakers who wish to commence
Incentivizing International Filmmaking
conducive to film production in India. or finalize their projects in India. These diplomatic
Central to the EODB strategy is the introduction outposts serve as vital hubs of support and
Film Facilitation Office (FFO)
of a comprehensive set of incentives designed guidance, providing filmmakers with valuable
At the heart of the EODB efforts lies the Film to attract foreign filmmakers to India. Under resources and assistance at every step of the
Facilitation Office (FFO), established by the Ministry these schemes, Indian Production Services process. Through close collaboration with the
of Information and Broadcasting. The FFO serves Companies can claim up to 40% of the qualifying Ministry of Information and Broadcasting and
as a one-stop destination for filmmakers, offering production expenditure incurred in India, with a other relevant government agencies, Indian
online services to obtain filming permissions maximum incentive payout of INR 300 million. Missions offer comprehensive information on
across India. Through its user-friendly portal, These incentives cover a wide range of activities, filming procedures, regulations, and incentives
filmmakers can navigate the complex landscape including live shoots, animation projects, post- available in India.
of regulations and bureaucracy with ease, production, and visual effects services, making
ensuring a seamless experience from script to India an attractive destination for international Through its EODB initiatives and incentivized
screen. By leveraging technology and centralizing productions. schemes, the Ministry of Information and
resources, the FFO has significantly reduced the Broadcasting is laying the groundwork for a
Salient Features of the Scheme vibrant and dynamic film industry in India. By
time and effort required to secure permissions,
with an average processing time of just 21 days. The incentive scheme encompasses live shoot simplifying processes, offering lucrative incentives,
projects and animation, visual effects, and post- and fostering international collaborations, India is
Integration with Invest India
production projects. For live shoot projects, poised to emerge as a global hub for filmmaking.
Building on the success of the FFO, the Ministry a minimum qualifying production expenditure With its rich cultural heritage, diverse landscapes,
of Information and Broadcasting has forged (QPE) of INR 30 million is required, with additional and world-class talent pool, India offers filmmakers
a partnership with Invest India, the country’s bonuses for employing Indian labor and a unique and compelling canvas to bring their
premier investment promotion organization. This incorporating Significant Indian Content. Similarly, creative visions to life.

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 FILMING IN INDIA
SIMPLIFIED PROCESSES

INCENTIVES FOR
PRODUCTION OF FOREIGN
FILMS IN INDIA

T
he Ministry of Information and Broadcasting has introduced comprehensive incentives for film
production projects and services executed in India on behalf of foreign entities, encompassing
live shoots, animation projects, post-production, and visual effects services. Under this
scheme, Indian Production Services Companies can claim up to 40% of the qualifying production
expenditure incurred in India, with a maximum incentive payout of Rupees 300 Million/ INR 30 Crore.
Here are the Salient Features of the Scheme:

For Live Shoot Projects Disbursal Milestones

• M
 inimum Qualifying Production Expenditure • 9
 0% disbursed on final approval, remaining
(QPE) of Rs 3 Crore/ INR 30 Million in India (Nil 10% on submission of final film with credit line
for Documentaries) and release affidavit
• Incentive Cap of Rs 30 Crore/INR 300 Million, • F
or Animation, Visual Effects, and Post
inclusive of: Production Projects:
• Reimbursement of up to 30% of QPE • M
 inimum Qualifying Production Expenditure
• B
 onus incentive of 5% of QPE for employing (QPE) of Rs 1 Crore/ INR 10 Million in India
at least 15% Indian Labor • Incentive Cap of Rs 30 Crore/INR 300 Million,
• A
 dditional bonus incentive of 5% of QPE for inclusive of:
Significant Indian Content • R
 eimbursement of up to 30% of QPE
• E
 ligible International Projects: Feature Films, • A
 dditional bonus incentive of 5% of QPE for
TV/Shows Series, Web Shows/Series, Significant Indian Content (SIC)
Documentaries • E
 ligible International Animation, Visual Effects,
• A
 pplication by Indian Line Producer/ and Post Production Projects
Production Services Company • A
 pplication by Indian Post Production, Visual
• Prior Film Shooting Permission mandatory Effects, and Animation Services Company
Application Process Application Process
• Interim approval application to Film Facilitation • N
 o prior permission required
Office (FFO) before commencing film • Integrated process with interim approval
shooting/production
• F
 inal disbursal application within 90 days of
• F
 inal approval and disbursal application within production completion in India
90 days of production completion in India
• Disbursal of 90% of incentive amount on final
approval, remaining 10% on submission of proof
of credit line incorporation and release affidavit

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 AUDIO-VISUAL CO-PRODUCTION TREATIES

Audio Visual Co-Production agreements have

been instrumental in facilitating numerous
CO-PRODUCE YOUR NEXT successful films, fostering international
collaborations, and broadening the horizons for
FILM IN INDIA Indian filmmakers

C
o-producing films is an evolving process Since 2016, the Ministry of Information and a platform for filmmakers to explore potential
that merges diverse talents and state- Broadcasting has facilitated a total of 27 official co- collaborations, pitch projects, and network with
of-the-art technology. It not only grants productions, fostering international collaboration industry professionals. The event facilitates
access to funding but also enhances storytelling and cultural exchange in the realm of filmmaking. meaningful interactions between Indian and
and market access. India has been leading Notably, India has forged strong partnerships international filmmakers, fostering partnerships
bilateral Audio-Visual Co-production Agreements with France, with seven official co-productions, that transcend borders and cultural differences.
(AVCAs) with key film-producing nations and showcasing the diversity and richness of
Recognizing the importance of the post-
markets since 2005. With agreements signed cinematic storytelling between the two nations.
production sector in enhancing the quality of films,
with 16 countries, including the recent one with These collaborations have birthed acclaimed films
India is actively exploring ways to incorporate
Australia, India has AVCAs with 10 G20 nations, such as “The Extraordinary Journey of the Fakir,”
post-production, digital, and visual effects
along with EU members like Spain, Portugal, and “Sir,” and “All We Imagine As Light,” resonating
activities within the scope of AV Co-production
Poland. with audiences worldwide and exemplifying the
Agreements. By incentivizing post-production
success of cross-border filmmaking ventures.
These agreements have been instrumental in activities and offering incentives for filming in India,
facilitating numerous successful films, fostering Additionally, India has cultivated fruitful partnerships the government aims to position the country as
international collaborations, and broadening the with other nations, including Canada, Germany, a hub for post-production services, attracting
horizons for Indian filmmakers. They provide a Brazil, China, Russia, Bangladesh, the UK, Spain, international projects and boosting the growth of
platform for sharing expertise, resources, and and Italy, each contributing unique perspectives the film industry.
creative ideas, leading to the production of high- and creative insights to the collaborative projects.
Overall, these initiatives underscore India’s
quality content that resonates with audiences From the animated fantasy of “Mia and Me – The
commitment to fostering global collaborations,
worldwide. Hero of Centopia” co-produced with Germany to
promoting cultural exchange, and facilitating the
the riveting drama of “Mujib (Bangabandhu)” with
In addition to fostering partnerships, the Ministry growth of the Indian film industry on the international
Bangladesh, these official co-productions have not
of Information and Broadcasting has introduced stage. Through strategic partnerships, incentives,
only expanded the horizons of Indian cinema but
various initiatives to incentivize co-productions and supportive policies, India is poised to become
also fostered deeper cultural understanding and
and promote the growth of the Indian film a premier destination for filmmakers seeking to
appreciation among global audiences. Through
industry. One such initiative is the Incentives co-produce films and leverage the diverse talent
such collaborative endeavors, India continues to
Scheme, which offers foreign productions in and resources available in the country.
strengthen its position as a key player in the global
India and co-productions under bilateral treaties
film industry, celebrating diversity, creativity, and
reimbursement of up to 30% of their qualifying
the universal language of storytelling.
expenditure in India. This scheme aims to attract
more international projects to India, providing Moreover, the Co-Production Market, held
financial support and creating a conducive annually at the Film Bazaar associated with the
environment for collaboration. International Film Festival of India, serves as

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 AUDIO-VISUAL CO-PRODUCTION TREATIES

Scan for text of Co-Production Agreements

India Film Guide 2024 India Film Guide 2024
24 25
 FILMING IN INDIA
SIMPLIFIED PROCESSES INCENTIVIZED IN INDIA. THREE
FILMS MAKE CANNES CUT
INCENTIVES FOR
AUDIO VISUAL Payal

CO PRODUCTIONS
Kapadia’s All
We Imagine As
Light (Official
Competition

T
he Scheme of Incentives for Official Audio Visual Co-productions with Foreign Countries, Section) is an
overseen by the Ministry of Information and Broadcasting, facilitates collaborative projects official India-
between Indian and foreign producers. Eligible formats include Feature Films, Animation France
Feature Films, Web Shows or Series, Animation Series, and Documentaries. The scheme offers a Co-Production
reimbursement of 30% of the Qualifying Production Expenditure (QPE) incurred in India, capped
at INR 300 million/ INR 30 Crore per project, with disbursement prioritized on a first-come-
first-served basis within a yearly limit of INR 1.5 billion/ INR 150 Crore. Indian co-producers are © Aboli Maharwade
required to initiate the application process, involving several stages:

Application for Co-Production Status Eligibility Criteria Sandhya Suri’s

• A
 pply to the Film Facilitation Office (FFO) for • P
rojects must hold official co-production film “Santosh,”
grant of co-production status. status granted by the Ministry of Information (Un Certain
• F
 or Documentaries, obtain permission from and Broadcasting and the relevant foreign Regard section)
the Ministry of External Affairs (MEA) before authorities under bilateral co-production India. Casting of
applying to the FFO. treaties. extras dressed
• O
 nly projects granted co-production status in fictional police
Interim Approval
after April 1, 2022, are eligible. uniforms by
• A
 pply for interim approval to the FFO within director Sandhya
four weeks of receiving co-production status. • Indian co-producers must meet specified
Suri and AD team
criteria and adhere to the terms outlined in the
• S
ubmit required documentation, including
co-production treaties.
project details and budget estimates. © Lennert Hillege

1st Disbursal
Application and Disbursal Process
• Indian co-producers can optionally claim
the 1st reimbursement, up to 50% of the • T
 he application and disbursal process involves
eligible amount, after commencing principal three stages: interim approval, 1st disbursal,
photography/production in India and incurring and final disbursal. Karan
the specified expenditure. • A
 pplication forms are available on the FFO Kandhari’s
website, and applicants must adhere to “Sister
Final Disbursal Midnight”
guidelines set by the Ministry of Information
• A
pply for final disbursal upon project (Directors’
and Broadcasting.
completion, claiming the entire eligible Fortnight)
reimbursement amount or the remaining
balance (if 1st disbursal was received).
• S
 ubmit the necessary forms, including audited
financial statements and production details.

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 FILMING IN INDIA
SIMPLIFIED PROCESSES

INCENTIVES FOR
ANIMATION, VFX AND
POST PRODUCTION

T
hese incentives aim to boost post-production, visual effects (VFX), and animation services
provided in India by Indian companies on behalf of international production entities. Each
project is eligible for reimbursement of up to 30% of the Qualifying Production Expenditure
(QPE) incurred in India, with an additional bonus reimbursement of 5% for Significant Indian
Content (SIC). To qualify for these incentives, projects must meet specific eligibility criteria:

Eligibility Criteria
• P
 rojects must obtain prior/interim approval for • U
pon project completion, the company
incentives after April 1, 2022. applies for final reimbursement within 90 days,
• T
 he entity responsible for production activities submitting necessary documentation such
in India (the “International Producer”) can as invoices and Foreign Inward Remittance
claim reimbursement through an Indian Post Certificates (FIRC).
Production Visual Effects and Animation • B
 oth interim and final applications undergo
Services (PPA) company. evaluation by relevant authorities, with the
• T
 he production budget should primarily come decision of the evaluation committee being
from financiers located outside India. final.

• M
 inimum QPE requirements for eligibility are Disbursement Milestones
set at Rs 1 Crore/ INR 10 Million. 90% of the eligible incentives are disbursed upon
• P
rojects must involve services physically approval, with the remaining 10% processed
undertaken in India by an Indian company on upon submission of final credits demonstrating
behalf of a foreign company. the project’s release for public viewing.

Additional Bonus Incentive (5%) Qualifying Production Expenditure (QPE)

• P
 rojects meeting specific criteria for Significant • Q
PE includes expenses related to post-
Indian Content can receive an additional 5% production, VFX, and animation services
incentive. Criteria include spending at least incurred in India. Certain expenses, such as
25% of the total budget in India, featuring taxes and audit fees, are excluded from QPE.
Indian lead characters or key creative heads, These incentives aim to foster collaboration
and promoting positive perceptions of India. between Indian and international production
Application Process entities while promoting India as a preferred
destination for post-production, VFX, and
• T
 he Indian PPA company applies for interim animation services.
approval within one month of executing the
agreement with the foreign production.

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 POLICY INITIATIVES

BIG STEPS TO MODERNIZE Under the revamped Cinematograph Act &

FILMMAKING AND STOP Rules, India embarks on a transformative
journey to modernize its film sector.
PIRACY
I
n a landmark move aimed at revolutionizing the
Indian film industry and tackling rampant piracy,
the Ministry of Information and Broadcasting, the restriction on the validity of certificates ensures potential infringers. Original copyright holders
Government of India, has undertaken significant that filmmakers can rely on their certifications for or their authorized representatives can now
amendments to the Cinematograph Act. the duration of their films’ lifetimes. lodge complaints with Nodal Officers to initiate
This monumental decision, marking the most takedown procedures, ensuring expedited action
Furthermore, the mandate for greater gender
comprehensive overhaul of the film certification against piracy.
diversity in certification boards underscores
process in over four decades, comes in the wake India’s commitment to inclusive decision-making By aligning with existing laws such as the
of escalating losses amounting to Rs. 20,000 within the film industry. These reforms signify Copyright Act, 1957, and the Information
crore annually due to piracy. a monumental leap towards creating a more Technology Act, 2000, India reinforces its
vibrant, transparent, and inclusive environment for commitment to safeguarding intellectual property
Indian cinema. rights and fostering a conducive environment for
Modernizing Film Certification for the creative expression.
Digital Age
Under the revamped Cinematograph (Certification) Cracking Down on Piracy: A Legal Front
Rules, 2024, India embarks on a transformative Simultaneously, the Ministry of Information and A New Dawn for Indian Cinema
journey to modernize its film certification process. Broadcasting has launched a robust crackdown As India embarks on this dual journey of
Key reforms include the adoption of online on film piracy, a persistent threat that annually modernizing film certification and combating
certification procedures, age-based certification siphons off up to Rs. 20,000 crore from the piracy, it paves the way for a brighter future for
categories, and enhanced representation of industry. The Cinematograph (Amendment) Indian cinema. With streamlined certification
women in certification boards. Act, 1952, serves as the legal backbone for this processes, enhanced representation, and robust
The shift towards online certification processes initiative, empowering the Ministry to tackle piracy anti-piracy measures, the Indian film industry is
promises improved transparency, efficiency, head-on. poised to thrive in the digital age, ensuring that
and accessibility for filmmakers. Additionally, the creativity continues to flourish and audiences
Central to this anti-piracy campaign is the
introduction of age-based certification categories, worldwide can enjoy a diverse array of cinematic
appointment of Nodal Officers tasked with swiftly
such as UA 7+, UA 13+, and UA 16+, empowers experiences.
addressing piracy complaints and directing
parents and guardians to make informed decisions intermediaries to remove pirated content from
about film suitability for young viewers. digital platforms. These officers play a pivotal
This holistic approach, encompassing both
The Cinematograph (Certification) Rules, role in facilitating prompt action against copyright
modernization and enforcement, underscores
2024, also introduce measures to expedite the infringement, offering a lifeline to the film industry
India’s resolve to safeguard its cultural heritage
certification process and ensure perpetual validity grappling with significant losses.
and promote innovation in the ever-evolving
of certificates issued by the CBFC. A system for The amended provisions of the Cinematograph landscape of global cinema. Through these
priority screening of films has been implemented Act introduce stringent penalties, including pioneering initiatives, India sets sail towards a new
to eliminate discretion and facilitate urgent imprisonment and fines, aimed at deterring dawn of cinematic excellence, poised to leave an
certification requests. Additionally, the removal of indelible mark on the world stage.

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 AVGC-XR POLICY INITIATIVES COPYRIGHT AND IP PROTECTION

POLICY INITIATIVES COPYRIGHT AND

AVGC IP PROTECTION
T I
he AVGC-XR sector stands as a pivotal hub for AVGC content creation and production, ndia is making significant strides in safeguarding Furthermore, the government is actively
driver for India’s media and entertainment boasting a wealth of talent and resources to the intellectual property (IP) rights of creators collaborating with industry stakeholders to raise
industry, with the government actively support its continued growth. and combating film piracy, ensuring a vibrant awareness about the detrimental effects of piracy
supporting its growth through robust policy and sustainable ecosystem for the entertainment on the entertainment sector and the economy at
initiatives. Recognizing the sector’s potential, the In addition to fostering the AVGC-XR sector’s industry. The approval of the Cinematograph large. Through targeted campaigns and educational
Government of India has designated audiovisual growth, the Indian government has rolled out (Amendment) Bill 2021 by the Union Cabinet initiatives led by the Ministry of Information and
services as one of the 12 Champion Service enticing incentive schemes for international film marks a pivotal step towards enhancing copyright Broadcasting, the public is sensitized to the
Sectors and introduced key policy measures to projects, including those involving animation, protection in the film sector. This legislation importance of respecting intellectual property
foster its development. post-production, and visual effects services. empowers the government to take stringent rights and supporting legitimate avenues for
Managed by NFDC and administered by the Film action against websites illicitly distributing pirated content consumption. These efforts foster a
The Ministry of Information and Broadcasting Facilitation Office (FFO), these schemes aim to films, thereby deterring piracy and preserving the culture of accountability and ethical conduct,
has spearheaded efforts to lay a solid digital attract international filmmakers and encourage integrity of creative works. reinforcing India’s commitment to combating piracy
foundation for the AVGC sector, including the collaborations through official co-productions.
Crafted in consultation with industry stakeholders comprehensively.
establishment of an AVGC Task Force. This task Eligible production companies can claim up to
force engaged in extensive consultations with 35% of the qualifying production expenditure and drawing from global best practices, the bill In tandem with legislative measures, India has
stakeholders and formulated a comprehensive set incurred in India, with an enhanced cap of reflects India’s commitment to curbing piracy undertaken multifaceted initiatives to streamline
of recommendations to promote sustained growth INR 300 million. and promoting lawful distribution channels. In the certification process for films and enhance the
in the sector. Among these recommendations addition to punitive measures, the legislation efficacy of the Central Board of Film Certification
were incentives and policy interventions aimed at These incentives, coupled with streamlined introduces age-based film classifications, offering (CBFC). These reforms aim to bolster the regulatory
bolstering animation, visual effects, gaming, and application processes and comprehensive parents guidance on age-appropriate content framework governing the film industry, ensuring
comics, such as a 30% post-production spend support, position India as a preferred destination consumption and fostering uniformity in film transparency and accountability in content
incentive and measures to attract larger budget for international animation and visual effects categorization across platforms. This initiative evaluation and classification. By strengthening
productions through co-production agreements. projects, reinforcing its status as a global not only safeguards viewers but also upholds the institutional mechanisms, India endeavors to
powerhouse in the AVGC industry. ethical standards of content dissemination. uphold the integrity of its vibrant film ecosystem
To further propel growth in the AVGC-XR sector, the and preserve the cherished tradition of cinematic
The establishment of the National Center of The amended legislation imposes severe
Ministry of Information and Broadcasting released storytelling.
Excellence (NCoE) in AVGC XR has been a policy penalties, including imprisonment of up to three
a Model State Policy on AVGC-XR for states to
vision of the government, aiming to elevate India’s years and fines of up to Rs 10 lakh, on individuals India’s proactive approach to copyright and IP
draft their own policies. Each state is encouraged
prowess in these fields to global standards. NCoE engaged in unauthorized film recording and protection underscores its unwavering commitment
to implement this policy in accordance with relevant
is to be set up at Mumbai later this year, which will distribution. Such stringent measures underscore to fostering a conducive environment for creativity,
Union and state laws and policies, with a focus
be a collaborative effort between the government the government’s resolve to protect the interests innovation, and responsible content dissemination.
on effective implementation through a designated
and industry to emerge as a premier institution of content creators and uphold the sanctity of Through legislative reforms, awareness campaigns,
nodal body and implementation framework.
for AVGC education and training in India. NCoE intellectual property rights. By deterring piracy, and institutional enhancements, India is poised
These policies and interventions have led to the aims to refine and structure training programs these provisions ensure that creators receive to emerge as a global leader in promoting and
flourishing of the AVGC sector in India, attracting to ensure that India’s skilled workforce meets fair compensation for their artistic endeavors, safeguarding intellectual property rights in the film
investment and attention from both domestic and international benchmarks, thereby enhancing incentivizing innovation and creativity in the film industry, paving the way for sustained growth and
international players. India has emerged as a major global employability and competitiveness. industry. prosperity in the creative landscape.

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 GLOBAL MEDIA SUMMIT SAVE THE DATE

WORLD AUDIO VISUAL &

ENTERTAINMENT SUMMIT 21-24 November 2024, GOA

I
ndia is one of the largest and perhaps the most its share of the global market. Strategic
diversified content producers in the world. At collaborations and partnerships in content
heart it aims to entertain, while at the same production, global coproduction, and financing
time the industry has embraced diversity and has are crucial for India to unlock new prospects and
continued to innovate. Be it our movies or any drive revenue growth. Additionally, the summit
form of content across platforms, news, sports, can address key challenges such as talent gap
OTT, Indian content has already left an indelible bridging, localization services, and the creation
mark on the world. of valuable content IPs.
India can become a high quality and cost- Key Objectives of World Audio Visual and
efficient content creation hub for the world. Our Entertainment Summit for Indian Media and
large talent pool, both in front of and behind Entertainment Industry:
the cameras, our pre and postproduction
facilities, expertise in animation, VFX, back- Y Facilitating global collaborations and
office operational excellence and high levels of investments in media and entertainment
connectivity are bound to help drive the Indian sector to boost trade and create
M&E sector grow globally. India is already employment opportunities
seen as a hub for animation and VFX and the
world has recognized its potential. Media and Y Promoting co-productions between Indian
Entertainment Industry is recognized as one of and global producers to develop diverse,
the champion sectors by the Government of high-quality content for global audiences,
India. establishing India as a global content hub

To facilitate the same, the Ministry of Information Y Encouraging global exchange of ideas,
and Broadcasting, Government of India will stories, and scripts between content
be organizing the first World Audio Visual & creators and producers to enhance India’s
Entertainment Summit (WAVES), a critical presence in the global media market
marquee event that will eventually shape the
future of India’s M&E industry. With the global Y Generating policy recommendations to
M&E industry reaching a staggering revenue of support growth, innovation, and investment
US$2.32 trillion and India’s market size showing in the M&E sector, strengthening India’s
potential for growth, this summit will offer a position as a global M&E leader
strategic platform to capitalize on this dynamic Y Encouraging global exchange of ideas,
landscape. Advertising, gaming, content stories, and scripts between content
production, animation, and music segments creators and producers to enhance India’s
are all witnessing significant growth, highlighting presence in the global media market
the immense opportunities for India to expand

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 HIGHLIGHTS FROM FICCI-EY REPORT 2024

BHARATATCANNES

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 IFFI DESIGN CONCEPT

Alpana, Uttrakhand Aripan, Bihar

Northern India Eastern India

Alpana or Alpona, is a traditional folk art form practiced In Aripan art, intricate patterns and motifs are
in the Indian state of Uttarakhand, particularly in the created directly on the ground using rice paste or
Kumaon and Garhwal regions. It holds deep cultural and powdered rice mixed with natural pigments. These
spiritual significance and is an integral part of various designs are typically geometric or floral in nature,
rituals, ceremonies, and festivals in the region. The featuring symmetrical arrangements and vibrant
patterns often incorporate sacred symbols and motifs colors that symbolize fertility and growth alongside
inspired by Hindu mythology and religious beliefs. festivity, unity and harmony.

IFFI Poster LOPEZ

LOPEZ 7 IFFI Poster LOPEZ
LOPEZ 9

Muggu Kolam Warli, Maharashtra

Southern India Western India

The Muggu kolam tradition is widely practiced in The indigenous Warli art form plays a significant role
Southern India, particularly in the states of Tamil Nadu, in the Warli community’s cultural expression — the
Andhra Pradesh, Telangana, and Karnataka. The patterns paintings typically represent a spirit of togetherness
and forms must be drawn in the traditional context to be and community bonding. The geometric patterns and
auspicious and to welcome prosperity into the figures symbolize the harmony and unity among the
household. Warli tribe, reflecting their close-knit social structure.

The pullis (dots), straight line, circle, triangle and square,

IFFI DESIGN CONCEPT

have symbolic values and represent the basic energies
of the universe.

IFFI Poster LOPEZ

LOPEZ 8 IFFI Poster LOPEZ
LOPEZ 10

KOLAMS OF INDIA
Inspired by the legend of the peacock dancing to welcome rain showers, the Poster Option 1

poster puts the peacock dance at centre to celebrate film, combined with a Madana, Madhya Pradesh Muggu Kolam
Southern India

special Indian tradition that is a symbol of welcome. Across India, diverse Central India

communities engage in the art of floor patterns called kolam in the south,
Aripan, Bihar
East India
Madana art, also known as Mandana or Madhubani,
is a traditional form of floor and wall painting

rangoli in the north and arpana in Bengal, and so on. These intricate patterns practiced in the Indian state of Madhya Pradesh, Madana, MP
Central India
particularly among the tribal communities such as
the Bhils and the Gonds.
adorn the entrance of homes, especially during festivals. Traditionally made of It incorporates geometric patterns, lotus flowers,
Warli, Maharashtra
Western India

birds, and animals that are symbols of protection,

rice flour, the kolam also symbolises the cycle of life: they are consumed by fertility, and prosperity. These symbols are believed
to bring blessings and ward off evil spirits. Alpana, Uttrakhand
North India

birds or wiped off by the end of each day.

IFFI Poster LOPEZ
LOPEZ 11

Rangoli art exhibits cultural variations, just like the art of cinema in India
IFFI Poster LOPEZ
LOPEZ 6

draws from every region to create diversity in expression. The motifs chosen
from across the North, South, East, West and Central parts of the nation will
embellish the peacock’s feathers — a warm invitation that celebrates the
nature of film, its ephemeral beauty and joy. Just like film, the art of making
a kolam is a rite of passage which is joyful and transient, involving the most
elaborate details.

in collaboration with
India Film Guide 2024 India Film Guide 2024
38 LOPEZ 39
 INTERNATIONAL FILM FESTIVAL OF INDIA INTERNATIONAL FILM FESTIVAL OF INDIA

•
Ministry of Information
& Broadcasting
Government Of India •

Nuri Bilge Ceylan at Press Conference

Festival Programmes in Brief

•
01. International Competition - A selection of 15 07. Special Screenings/Gala Premieres – Opening,
acclaimed feature films representing the Mid-fest and Closing Films, along with daily
emerging trends in the aesthetics of film as Premieres of highly anticipated titles.
envisioned by masters and young voices alike.
08. Gala Opening and Closing Ceremonies and
02. Competition for ICFT-UNESCO Gandhi Medal daily Red Carpet events, networking and
Award – Given to a film which reflects the media events.
ideals promoted by UNESCO; especially –
Tolerance, Intercultural Dialogue and Culture 09. Country Focus – IFFI’s presentation of
of Peace. contemporary films from a focus country, an
annual collaboration between IFFI & global
03. Competition for Best Debut Feature Film of a film industries.
Director – Collection of fiction feature debuts
that exemplify what the next generation of 10. Masterclasses and Panel Discussions.
filmmakers are envisioning onscreen.
11. Creative Minds of Tomorrow – 75 young Indian
04. Non-Competition (Cinema of the World & talents selected after a rigorous competition,
Other Curated Special Presentations) – IFFI’s chosen based on their proficiency and
20th - 28th November, 2024 official selection of contemporary international promise in different areas of filmmaking.
feature films across techniques, aesthetics,
concepts and global diversity.

05. Festival Kaleidoscope – Exceptional films

from veteran filmmakers, and the critically
Started in 1952, IFFI has established itself amongst the most important film events across the acclaimed hits from the other international
globe. It is the only film festival in South Asia that is accredited by International Federation of film festivals of the year. Entries for the Competition
Film Producers' Associations (FIAPF) in the Competitive Feature Films Category. sections are now open
06. Indian Panorama – A collection of feature
IFFI is an annual event organized by National Film Development Corporation of India Ltd (NFDC), and non-feature films of cinematic, thematic Last date for submission
Ministry of Information and Broadcasting, Government of India in collaboration with the State and aesthetic excellence, in different Indian
August 31, 2024.
Government of Goa through Entertainment Society of Goa (ESG) and the Indian Film Industry. languages (English-subtitled), selected by
the Indian Panorama Jury. Bril

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 INTERNATIONAL FILM FESTIVAL OF INDIA

Eligibility Awards@IFFI
• English subtitled – Minimum duration 70 mins. • Best Film – Golden Peacock, Certificate,
INR 40,00,000/- ($47895 approx) Mi

• Films completed between September 1, 2023 G

and August 31, 2024. • Best Director – Silver Peacock, Certificate,
INR 15,00,000/- ($17960 approx)
• Films entering for International Competition
should not have been released physically in • Best Actor (Male) – Silver Peacock, Certificate,
India or presented in any other Indian Film INR 10,00,000/- ($11973 approx)
Festival(s) or shown virtually on any platform Dylan Douglas, Catherine Zeta-Jones, and Cast & Crew of the film ‘Fight Like a Girl’
Michael Douglas at Red Carpet on the Red Carpet
including OTTs. Indian Films for International • Best Actor (Female) – Silver Peacock, Certificate,
Competitions are selected through Indian INR 10,00,000/- ($11973 approx)
Panorama for which entries are invited
separately. • Special Jury Award – Silver Peacock, Certificate,
INR 15,00,000/ ($17960 approx)
• Entry form link :
https://filmfreeway.com/InternationalFilmFe • Best Debut Feature Film, Director – Silver Peacock,
stivalofIndiaIFFI-Goa Certificate, INR 10,00,000/- ($11973 approx)

About Goa
The beach state of Goa is the most popular tourist destination of western India.
Its long history as a Portuguese colony prior to 1961 is evident in its well Red Carpet Interaction with Stuart Gatt (Director), Jonathan Katz & Diman Zandi, actress from the
film ‘Melody’ on the Red Carpet
preserved 17th-century churches. Goa is also known for its beaches, ranging Mark David(Producers) of Opening Film : ‘Catching Dust’ (UK)

from popular stretches at Baga and Palolem to those in laid-back fishing

villages such as Agonda. Goa is well connected by road and railways to every
part of India and its two international airports connect it to all major cities of
n India and the world.

75 Creative Minds : Nurturing young talent@IFFI A still from Closing Film : ‘The Featherweight’ directed
by Robert Kolodny (United States)

For details, visit the festival website: www.iffigoa.org

Brillante Mendoza : Masterclass on Film Direction Satyajit Ray Lifetime Achievement Award to Michael Douglas
Follow us on: @iffigoa @IFFIGoa @IFFIGoa

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 FILM BAZAAR

20
24
NOV 20024

BHARATATCANNES

18TH EDITION
FILM BAZAAR
India Film Guide 2024 India Film Guide 2024
44 45
 FILM BAZAAR

ABOUT
KNOWLEDGE SERIES
The Knowledge Series consists of specially curated presentations, lectures, panel discussions and
Master classes with key decision makers and market drivers of the industry. Covering topics like
content evolution, distribution platforms, co-production opportunities, international collaborations, and
navigating festivals and markets. Speakers include business unit heads, executives, aggregators,
and content providers from global organizations

COOPRODUCTION MARKET
A platform for curated projects with South Asian themes to find financial and artistic support. 20

NATIONAL FILM Feature film projects and 10 Documentaries were presented at the 17th edition of Film Bazaar in 2023.

DEVELOPMENT WORK O INO PROGRESS LAB

The Work-in-progress Lab (WIP) gives selected filmmakers a chance to screen the rough cut of their

CORPORATION LTD. film to an eminent panel of International Advisors, which include a film festival director, producers,
world sales agent and an editor. It includes both Feature Films and Documentaries (Non Feature).

NFDC works towards fostering excellence in VIEWING ROOM

The Viewing Room at Film Bazaar is a Video Library (VR) platform to showcase recently completed
films across formats and genres by empowering or post-production films from India and South Asia seeking film festivals, distribution partners, and
new talents across diverse Indian languages finishing funds. It serves as a bridge between Sellers (filmmakers) and Buyers (programmers, distributors,
sales agents, and investors) globally. Buyers can watch films in a secure platform, access details and
and ensuring their work reaches audiences contact filmmakers, ensuring a safe space for unreleased works.
both domestically and internationally.
MARKET SCREENING
Market Screenings serve as pivotal platforms for filmmakers to present their work to industry prof
essionals globally, facilitating networking and forging distribution deals. Film Makers cab book
screenings in specially set up digital theatres at the market.

SCRIPT WRITERS' LAB

The Screenwriters’ Lab is an annual programme that offers screenwriters the opportunity to experiment
with and explore their screenplays under the mentorship of acclaimed international script and

FILM BAZAAR industry experts. Held in collaboration with Film Bazaar, the lab also introduces participants to
global industry norms and practices. Additionally, the lab trains the participants to pitch and present
their projects to domestic and international producers and investors.

Film Bazaar is South Asia’s largest film market, PRODUCERS' WORKSHOP

which is held annually alongside the International The Producers’ Workshop is an extensive five-day, closed-door program designed to cover all aspects
to mobilize a film project for producers, entrepreneurs and filmmakers. The program is ideal for
Film Festival of India (IFFI)in Goa, India. It promotes delegates/participants who have a potential project.
the Indian film sector internationally to enable
COUNTRY AND STATE FILM OFFICE
collaborations in the realm of film festivals,
State and Countries can showcase their locations and attractive incentives for filming at thr Film
production and distribution between the South Officers of the Bazaar.
Asian filmmakers and International film fraternity TECH AND VFX PAVILION
VFX and Tech Pavilion showcases some of the most dynamic, immersive, and cutting-edge advances
Film Bazaar Verticals - Co-Production Market, in filmmaking technology in the fields of animation, visual effects, virtual reality, and CGI in India
and abroad. Exhibitors have the opportunity to book their space and create captivating experiences
Viewing Room, Work In Progress Lab, Knowledge for attendees.
Series, Market Screenings, Producer’s Workshop,
MARKET STALLS
Script Writers' Lab.
The Market Stalls in the Industry Pavilion of Film Bazaar is aimed towards serving as a vibrant hub
for networking, collaboration, and business opportunities within the film industry. It facilitates
meaningful interactions among key stakeholders, including filmmakers, production companies,
studios, buyers and sellers’ distributors, and service providers, both from India and abroad. The
pavilion's activities are centred towards B2B meetings, connecting filmmakers and producers
with potential investors, distributors, and collaborators.

1 CALL FOR ENTRIES – Mid July 2024 2

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 FILM BAZAAR

FILM BAZAAR
EXHIBITION LAYOUT
FILM BAZAAR EXHIBITION LAYOUT

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 FILM BAZAAR
COUNTRY & STATE OFFICE COUNTRY & STATE OFFICE
GLIMPSES SUCCESS STORIES
OF FILM BAZAR
PREMIUM LITE PACKAGE
Heirloom by Upamanyu Bhattacharyya- Film Bazaar’s co-production
animation project selected for the HAF goes to Cannes section.
FILM OFFICE SPACE FOR 5 DAYS
(November 20 - 24, 2024) Girls will be Girls by Shuchi Talati - World Premiere at Sundance Film
Film Bazaar Accreditation for 2 persons Festival, 2024- Won The Audience Award in the World Cinema Dramatic
2 Single Occupancy Room (November 20 - 24, 2023 Category and the Special Jury Award for Acting for lead actor Preeti
5 Nights)
Panigrahi.
2 Nos 8’x8’ Key branding spots at the Bazaar venue
1 Full Page Market Guide Ad (Double Spread).
Schirkoa – In lies we trust by Ishan Shukla - World Premiere at International
Logo presence in all the collaterals
Film Festival of Rotterdam (IFFR) 2024
1 Film office will include:
2 Discussion tables
PREMIUM PACKAGE
In the Belly of a Tiger by Siddhartha Jatla World Premiere – 73rd Berlin
8 Chairs
International Film Festival 2024 (Forum section)
1 Nos 55 Inch TV on Stand
4 Plug Points
Follower by Harshad Nalawade - World Premiere at International Film
Festival of Rotterdam (IFFR) 2023,
INR 15,00,000
0INR 1.5 MILLIONN Shivamma by Jai Shankar - World Premiere at Busan International Film
Festival 2022

Paka (River of Blood) by Nithin Lukose - World Premiere at Toronto

STANDARD PACKAGE International Film Festival 2021

Shankar's Fairies by Irfana Majumdar - World Premiere at Locarno Film

Festival 2021
FILM OFFICE SPACE FOR 5 DAYS
(November 20 - 24, 2024) Ek Jagah Apni by Ektara Collective - World Premiere at Tokyo International
Film Festival 2022
FILM OFFICE SPACE FOR 5 DAYS 1 Film office will include:
1 Discussion tables
(November 20 - 24, 2024) 2 Discussion tables
4 Chairs Manikbabur Megh (The Cloud & The Man) by Abhinandan Banerjee - PÖFF |
8 Chairs
Film Bazaar Accreditation for 3 persons Tallinn Black Nights Film Festival, 2021
1Nos 3 Seater Sofa 1 Nos 55 Inch TV on Stand
3 Single Occupancy Room (November 20- 24,
2 Nos Single Seater Sofa 2 Plug Points Hadinelentu by Prithvi Konanur - World Premiere at Busan International
2023 – 5 Nights)
1 Nos 55 Inch TV on Stand Film Festival (Jiseok Competition) 2022
1 Dedicated Knowledge Series session
3 Side Soft Branding (Print on Frame)
3 Key branding spots at the Bazaar venue inside the office Sultana’s Dream by Isabel Herguera - World Premiere at San Sebastián
(1 Nos 16’x8’ and 2 Nos 8’x8’ ) 4 Plug Points Over the years, well-acclaimed films such as Lunch Box, Margarita International Film Festival 2023 and won the Irizar Basque Film Award at
2 Full Page Market Guide Ad (Double Spread) With A Straw, Chauthi Koot, Qissa, Ship of Theseus, Titli, Court, Anhe the San Sebastian Film Festival 2023
Logo presence in all the collaterals INR 25,00,000 INR 5,00,000 Ghode Da Daan, Miss Lovely, Dum Lagake Haisha, Liar’s Dice and
0INR 2.5 MILLIONN 0INR 500 THOUSANDN Thithi have been through one or more program of the Bazaar.

4 5

KNOWLEDGE SERIES NETWORKING SESSION

TECH PAVILION STALLS MARKET STALLS & VIEWING ROOM & MARKET SCREENINGS

PREMIUM TB PREMIUM STALLS KNOWLEDGE SERIES NETWORKING SESSION

DELIVERABLES:
Octrnum stall - 3mt x 6 mt STATUS OF “POWERED BY” SLOT 20 TO 24TH NOVEMBER
DELIVERABLES: 3m x 6m Printed Panels – 4 nos

Raw Space of 4m x 4m to be
Front Printed Facia name x 2 SPONSOR FOR THE KNOWLEDGE R7PM 9PMM
50 inch tv on stand
given to the sponsors
Amenities provided -Power 3kva
Discussion Tables x 1 nos Seating SERIES VENUE Opportunity to host an official networking dinner at NDFC Film Bazaar
Chairs x 6 nos Plug points x 2
Branding as “Networking Session Hosted by”
Wifi Connection Registration Table x 1 Powered by Mention in all Communication related to Knowledge Series
Brochure Stand x 1 To include venue designated by NFDC at the Film Bazaar Site plus Food and
Website Listing 1 session organised for the sponsor
Beverage as per standard package* for Film Bazaar.
Wifi connectivity
Access to Meeting Scheduler Logo in Venue Branding
Website Listing Access to meeting All other costs including special menu, if required to be borne by the sponsor
Scheduler Logo in Event Collaterals directly.
5 x Exhibitor Badges
3 x Exhibitor Badges Logo in Film Bazaar Website Mention in the NFDC program, on all media as an official event, with the “Networking
2 Nos 8x16 Banner Brandings in Venue session Hosted by Sponsor Name” tag.

INR 10,00,000 INR 5,00,000 2 Nos 8x8 Banner Brandings in Venue No other official programming will be held during the dinner slot.
Logo in Event Website
Logo in Press Backdrop
0INR 1 MILLIONN 0INR 5 HUNDRED THOUSANDD
Emcee mention during various announcements. Emcee Mentions during program announcement.
All promotion material to be pre-approved by NDFC.
One banner branding 8x8 in Venue.
INR 50,00,000
STANDARD TA PREMIUM LIGHT STALLS (INR 5 Million)

DELIVERABLES: INR 20,00,000

(INR 2 Million)
DELIVERABLES: Octonorm stall - 3m x 3m
Printed Panels – 3 nos Front Printed

VIEWING ROOM
Raw Space of 3m x 3m to be Facia name x 1
given to the sponsors 42 inch tv on stand Discussion Tables
x 1 nos
Amenities provided - Power – 3kva

MARKET SCREENING
Seating Chairs x 6 nos
Opportunity to brand the viewing room with “Powered by Status”
Wifi Connection Plug points x 2
Registration Table x 1 Sponsor Wall paper on all Screens
Website Listing
Brochure Stand x 1 Mention as “Viewing room Powered by” in Event Signage
Access to Meeting Scheduler Advertising options – 30 Second Sponsor Film to be player in all 3 screening
Wifi connectivity
Logo on Website
Website Listing Access to meeting rooms prior to the start of every screening (4 Slots per day)
3x Exhibitor Badges Logo in Event Collaterals.
Scheduler
2 x Exhibitor Badges
INR 3,00,000
INR 10,00,000
INR 5,00,000 ₹ 3,00,000 (INR 1 Million)
(INR 300 Thousand)

0INR 5 HUNDRED THOUSANDN 0INR 3 HUNDRED THOUSANDD

7 9 10
6

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 FILM BAZAAR
OTHER OPPORTUNITIES
GLIMPSES SUCCESS STORIES
MARKET GUIDE OF FILM BAZAR Heirloom by Upamanyu Bhattacharyya- Film Bazaar’s co-production

ADVERTISEMENT animation project selected for the HAF goes to Cannes section.

Girls will be Girls by Shuchi Talati - World Premiere at Sundance Film

INR 50,000 Festival, 2024- Won The Audience Award in the World Cinema Dramatic
Single Page (INR 50 Thousand) Category and the Special Jury Award for Acting for lead actor Preeti
Panigrahi.

INR 1,00,000 Schirkoa – In lies we trust by Ishan Shukla - World Premiere at International
Double Page Spread (INR 1 Million) Film Festival of Rotterdam (IFFR) 2024

In the Belly of a Tiger by Siddhartha Jatla World Premiere – 73rd Berlin

International Film Festival 2024 (Forum section)

Follower by Harshad Nalawade - World Premiere at International Film

BRANDING & DIGITAL Festival of Rotterdam (IFFR) 2023,

ADVERTISING Shivamma by Jai Shankar - World Premiere at Busan International Film

Festival 2022

Paka (River of Blood) by Nithin Lukose - World Premiere at Toronto

INR 30,000 International Film Festival 2021
8ft x 8ft Printed Banner (INR 30 Thousand)
Shankar's Fairies by Irfana Majumdar - World Premiere at Locarno Film
Festival 2021
INR 45,000
16ft x 8ft Printed Banner (INR 45 Thousand) Ek Jagah Apni by Ektara Collective - World Premiere at Tokyo International
Film Festival 2022

2ft x 6ft - Hanging Scrolls placed in Tech INR 15,000 Manikbabur Megh (The Cloud & The Man) by Abhinandan Banerjee - PÖFF |
Pavilion & Market Space (INR 15 Thousand) Tallinn Black Nights Film Festival, 2021

Hadinelentu by Prithvi Konanur - World Premiere at Busan International

INR 90,000
30 Sec Vertical Add Play in Digital Signage (INR 90 Thousand)
Film Festival (Jiseok Competition) 2022

Sultana’s Dream by Isabel Herguera - World Premiere at San Sebastián

Over the years, well-acclaimed films such as Lunch Box, Margarita International Film Festival 2023 and won the Irizar Basque Film Award at
With A Straw, Chauthi Koot, Qissa, Ship of Theseus, Titli, Court, Anhe

BHARATATCANNES
the San Sebastian Film Festival 2023
Ghode Da Daan, Miss Lovely, Dum Lagake Haisha, Liar’s Dice and
Thithi have been through one or more program of the Bazaar.

11

Scan me to
download brochure

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 MUMBAI INTERNATIONAL FILM FESTIVAL 2024

MIFF
DESIGN CONCEPT
The Mumbai International Film Festival seeks to celebrate people and their
stories; the built environment interacting with the humane, the colors and the
patterns coming together to create a phantasmagoria of reality and fantasy.
Focusing on documentaries, animation and short films, the festival takes
inspiration from the context it is located in - the moment created between the
iconic Gulshan Mahal and the contemporary glass building serves to provide
the creative inspiration for the various colors, textures and patterns sprouting
forth in the festival design.
By seeing the extraordinary in the ordinary, the design will play with colors,
textures, materials and scale to create a festival that is inspiring to be a part
of, along with exuding joyous celebration of talent from around the world.
However, the design element which brings it all together, just like what breathes
life into architecture, is the people, who are invited to come in, and be a part
of this visual cacophony; pulsating with the beat of the city.

People that are living,

With stories of their own.
They have a rhythm,
And to time it is known.
Tick tock, the time it flows
Chaos and order, both shows.
By people that are living,
With stories of their own.

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 MUMBAI INTERNATIONAL FILM FESTIVAL 2024

MIFF Film Bazaar, an innovative platform facilitating

project pitches, collaborative ventures, and
avenues for accessing funding. Comprising
MIFF 2024 at a Glance
• 
Distinguished committee led by the

A GATEWAY TO GLOBAL the Doc Co-Production Market (Doc CPM),

the Doc Viewing Room (Doc VR), and the Doc
Secretary of the Ministry of Information
and Broadcasting
Work-In-Progress Lab (Doc WIP), the Bazaar
RECOGNITION offers filmmakers unparalleled opportunities for
networking and growth. It serves as a nexus for
• Rigorous selection process by esteemed
juries

creative exchange and exploration, fostering • 

Two distinct categories: International
collaborations that transcend geographical Competition and National Competition
boundaries.
Under the auspices of the Honoring Filmmaking Craft • Prohibition on entries previously screened
at MIFF, animation feature films, and
National Film Development At the heart of MIFF lies a dedication to Meet and Learn from the Best content for television or digital platforms
honoring excellence in the cinematic craft.
Corporation (NFDC) and A distinguished committee, helmed by the Beyond its role as a showcase for cinematic • Introduction of Documentary Film Bazaar
the Ministry of Information Secretary of the Ministry of Information and excellence, MIFF serves as a nucleus for
• Platform for project pitches, collaborations,
Broadcasting and composed of eminent figures industry networking and collaboration.
and Broadcasting, the 18th Through master classes, workshops, and
and funding
from the film industry, oversees the festival’s
Mumbai International Film proceedings. Films vying for recognition at panel discussions, filmmakers engage with • 
Comprises Doc Co-Production Market
seasoned professionals, enriching their (Doc CPM), Doc Viewing Room (Doc VR),
Festival (MIFF) is slated to MIFF undergo rigorous selection processes by
understanding of contemporary trends and and Doc Work-In-Progress Lab (Doc WIP)
esteemed juries, with awards spanning various
take place from June 15 to categories, including the esteemed Best Film of technological advancements in cinema.
• 
Master classes, workshops, and panel
Off-campus screenings further extend the
June 21, 2024. Renowned the Festival award, accompanied by a notable
festival’s reach, bringing award-winning films to
discussions
cash prize and distinction. The competition
as the oldest and most section encompasses two distinct categories: audiences across India and nurturing a deeper • Engagement with seasoned professionals
appreciation for non-feature films.
expansive film festival for the International Competition and the National • Enriching understanding of contemporary
Competition, each offering a platform for trends and technological advancements
non-feature films in South filmmakers to showcase their work on a global Ready for the Future
Asia, MIFF stands as a scale. Notably, MIFF 2024 prohibits entries • Off-campus screenings extending festival
Rooted in its inception as the Bombay reach across India
previously screened or entered at the festival,
pivotal juncture for Indian International Film Festival (BIFF), MIFF has
alongside animation feature films and content burgeoned into a dynamic platform celebrating • 
Rooted in Bombay International Film
documentary filmmakers to tailored for television or digital platforms. the diversity and innovation inherent in non- Festival (BIFF)
attain international acclaim. feature filmmaking. With a renewed emphasis • Emphasis on documentary filmmaking and
MIFF 2024: on documentary filmmaking and an unwavering talent development
A Milestone in Global Cinema commitment to talent development, MIFF
continues to push the boundaries of cinematic • MIFF remains forefront in promoting Indian
MIFF 2024 heralds several significant expression. As Indian documentaries captivate documentaries worldwide
milestones, solidifying its significance within audiences worldwide, MIFF remains at the MIFF 2024 stands as a beacon of artistic
the global film landscape. A pioneering addition forefront, showcasing the best that Indian innovation and cultural exchange, offering
to this year’s festivities is the Documentary cinema has to offer to a global audience. filmmakers an unparalleled platform to
showcase their talents and engage with a
global audience.

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 NFDC

NATIONAL FILM
DEVELOPMENT
CORPORATION

T
he Ministry of Information and will bring the organization of different national
Broadcasting has transferred the and international film festivals under one roof,
mandate of production of documentaries thereby bringing in more synergy and a focused
and short films, organization of film festivals international outreach.
and preservation of films to the National Film
Audio Visual Service is one of the 12
Development Corporation (NFDC), a PSU
Champion Service sectors identified by Dept.
The NFDC is one
working under the Ministry.
of Commerce, and Ministry of Information of its kind hybrid
Bringing all these activities under a single & Broadcasting is the nodal Ministry for this
management will reduce the overlap of various sector. Financial incentives for audio-visual institution in the
activities and ensure better utilization of co-productions with foreign countries and for world. It provides
public resources. The mandate of production promotion of shooting of foreign films in India
of feature films is already being carried out have also been approved by the Government skill development,
by NFDC. It will give a strong impetus to the to further stimulate the Audio-Visual service script labs,
production of films of all genres including sector of the economy and promote creative
feature films, documentaries, children films and technical services. This will also be developmental
and animation films; promotion of films through
participation in different international festivals
spearheaded by the NFDC through its Film
Facilitation Office (by Invest India).
labs, marketing
and organizing various domestic festivals;
The decision has made NFDC the strategic
consulting, and
preservation of filmic content, digitization
and restoration of films; and distribution and
interface between the government and all funding assistance,
strategic interventions in the film sector and
outreach activities. The ownership of the assets
industry in India, which will enhance co-
and organises
available with these units will, however, remain
with the Government of India.
production opportunities in India. Film Bazaar, South
The mandate of production of documentaries
The NFDC is one of its kind hybrid institution in Asia’s most prolific
the world. It provides skill development, script
that was earlier done by Films Division has
labs, developmental labs, marketing consulting, Film Market
been completely transferred to NFDC.
and funding assistance, and organises Film
Similarly, the organization of film festivals Bazaar, South Asia’s most prolific Film Market. It
that was the mandate of Directorate of Films also assists Indian producers in finding suitable
Festivals has been transferred to NFDC. This partners in foreign film festivals and vice versa.

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 NFDC CATALOGUE
Duvidha
(Dir: Mani Kaul)

BHARATATCANNES

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 NFDC CATALOGUE
LIBRARY FEATURES & NEW RELEASES CHILDREN MOVIES
Elevating Indian Cinema to Global Heights A Whimsical Journey into Imagination
National Film Development Corporation (NFDC) is a central agency for all audio-visual productions, develop- Step into the enchanting world of Children’s Film Society of India (CFSI), now an integral part
ments, promotions to support emerging filmmakers & their stories, nationally and internationally. NFDC is at of the National Film Development Corporation (NFDC). Through a collection of over 250 chil-
the helm of all the media units of the Ministry of Information & Broadcasting, Government of India. NFDC, dren’s films in over 20 regional languages, CFSI brings stories to life, sparking the imagination
a driving force in Indian cinema, stands as a testament to the nation’s cinematic prowess. Notable success- of young minds. This amalgamation of education and entertainment fosters a love for cinema
es such as The Lunchbox, Salaam Bombay and Gandhi underscore NFDC’s dedication to excellence. among the younger generation. The merger with NFDC strengthens CFSI’s commitment to
Beyond financing and promoting independent films, NFDC actively cultivates new talent and facilitates the nurturing creativity and providing wholesome entertainment for children. Explore the magic of
growth of Indian cinema across languages through productions, co-productions, script development, and tai- children’s cinema with NFDC, inspiring young hearts across the world.
lored workshops. NFDC’s commitment extends to organizing MIFF, IFFI & Film Bazaar, creating a dynamic
platform for co-production and distribution.

Over 100 Awarded & Acclaimed Films Over 250 Children Films

Joseph’s Son Mujib: The Making of a Nation Chhaad – The Terrace Gauru Harun-Arun Gattu
(Dir: Haobam Paban Kumar) (Dir: Shyam Benegal) (Dir: Indrani) (Dir: Ramkishan Choyal) (Dir: Vinod Ganatra) (Dir: Rajan Khosa)

Anhey Ghorhey Da Daan Island City Qissa Pappu ki Pugdandi Happy Mother’s Day WOH
(Dir: Gurvinder Singh) (Dir: Ruchika Oberoi) (Dir: Anup Singh) (Dir: Seemaa Desai) (Dir: Anjuli Shukla) (Dir: Buddhadeb Dasgupta)

Kaliyachan Agantuk Adi Shankaracharya School Chalega..? Banarasi Jasoos Pinti ka Sabun
(Dir: Farook Abdul Rahiman) (Dir: Satyajit Ray) (Dir: G. V. Iyer) (Dir: Ameet Prajapati) (Dir: Pankaj Parashar) (Dir: Pramod Pathak)

27 Down Aashad Ka Ek Din Padatik Kaphal: Wild Berries Bandu Boxer Tora
(Dir: Awatar Krishna Kaul) (Dir: Mani Kaul) (Dir: Mrinal Sen) (Dir: Batul Mukhtiar) (Dir: Rajeev Sharma) (Dir: Jahnu Barua)

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 NFDC CATALOGUE
DOCUMENTARIES & NEWS REELS FILM ARCHIVE
Chronicling India's Narrative Through Documentaries NFDC-National Film Archive of India (NFDC-NFAI) is a custodian of cinematic heritage, dedicated to tracing,
acquiring, and preserving the legacy of Indian and world cinema. As a member of the International Federa-
NFDC-Films Division (NFDC-FD), has been a trailblazer in chronicling India’s socio-cultural and political tion of Film Archives (FIAF) since 1969, it offers essential services for historic and scholarly research, housing
landscape through compelling documentaries. From riveting explorations of historical events to thought- a vast collection that includes 2,03,287 still photographs, 40,919 film posters, and 24,797 song booklets.
provoking reflections on contemporary issues, its extensive catalogue captures the essence of India’s The NFDC-NFAI is at the forefront of the National Film Heritage Mission (NFHM), a Rs. 597 crores (USD 91.4
diverse narrative. With a commitment to fostering dialogue and understanding, NFDC continues to million) initiative launched in 2015. The NFHM aims to revive the glory of classic films, allowing present and
produce documentaries that resonate both nationally and internationally. Explore the rich collection of future generations to experience the cinematic masterpieces that have captivated audiences for decades.
India’s documentary heritage with us, a cornerstone in the nation’s cinematic narrative.
Over 20,000 Films Preserved in Vaults
Over 7500 Documentaries & Archival Content

Johny Mera Naam Shatranj Ke Khilari Guide

(Dir: Vijay Anand) (Dir: Satyajit Ray) (Dir: Vijay Anand)

Sound From The Hallow Bamboo Tiger Army Ladakh Chale Rickshawala
(Dir: Vito Yepthomi) (Dir: Sourav Sarangi) (Dir: Indrani)

Haqeeqat Pathala Bhairavi Teesri Kasam

(Dir: Chetan Anand) (Dir: K.V. Reddy) (Dir: Basu Bhattacharya)

Tenzing Bodosa: Tribal Entrepreneur Ruma Devi - The Crusader Padmashri Professor Waman Kendre
(Dir: Mushuka Ramchiary) (Dir: V.P Dhar) (Dir: Gautami Berde)

Mahatma Phule Dr. Kotnis Ki Amar Kahani Bees Saal Baad

(Dir: Pralhad Keshav Atre) (Dir: V. Shantaram) (Dir: Biren Nag)

Aribam Syam Sharma - Laparoscopic

Cinemascapes (Dir: Joshy Joseph)
Back To The Future
(Dir: Manohar Singh Bisht)
The Journey of ISRO
(Dir: Karavatti Sampath Shridhar) CINEMA MUSEUM
Nestled in Mumbai, NFDC-National Museum of Indian Cinema (NFDC-
NMIC) serves as a dynamic homage to India’s cinematic legacy.
A pivotal force in fostering film industry growth, NMIC curates an
array of artifacts, offering a transformative journey through time’s
corridors. Beyond mere entertainment, NMIC, under NFDC’s visionary
leadership, imparts knowledge through fun activities called Cine
Sundays, workshop related to cinema known as Panorama of Indian
Message of Netaji Subhash Chandra Cinema and movie screenings. These screenings named as NMIC’s
A Dream Takes Wings (Dadasaheb Discovering Devika Bose: As President of The Haripura Chronicles of Timeless Treasures, features restored classics Satyajit Ray Gallery at NMIC
Phalke) (Dir: Gajanan Jagirdar) (Dir: Usha Deshpande) National Congress 1938
meticulously preserved by the National Archive of Indian Cinema.

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 NFDC CATALOGUE
FESTIVALS & FILM MARKET LATEST PRODUCTIONS & CO-PRODUCTIONS
NFDC ​produces and co-produces films that reflect the Cinemas of India under the scheme Development,
55th Communication & Dissemination of Filmic Content (DCDFC) of the Ministry of Information & Broadcasting. It
International
Film Festival encourages debutant filmmakers by undertaking 100% production of their first feature film, documentary film
of India, Goa
20th – 28th November, 2024
and co-production of good quality films in partnership with private filmmakers both from India and abroad.

MIFF 2024: A Celebration of Global Documentaries

Established in 1990 under the Ministry of Information & Broadcast-
ing, Government of India, the Mumbai International Film Festival
(MIFF) stands tall as the oldest and largest non-feature film festival
in South Asia. MIFF is a vibrant celebration of creativity, storytelling,
and the art of filmmaking, set to take place in Mumbai from June 15
to June 21, 2024. Scan the QR code for more details & visit official
website: https://miff.in/
How To Take Your Films To The Oscars? Tara & Akash Love Beyond Realms Lioness
Carter Pilcher Explains at MIFF 2022 (Dir: Srinivas Abrol) (Dir: Kajri Babbar)

IFFI 2024: Elevating Filmmaking Excellence

IFFI, the International Film Festival of India, stands proudly as
the only film festival in South Asia accredited by the International
Federation of Film Producers’ Associations (FIAPF) in the Compet-
itive Feature Films Category. Since its inception in 1952, IFFI has
been a curator of exceptional films from across the globe, providing a
singular platform for ambitious filmmakers, cineastes, and industry
professionals to access outstanding cinema. The International Cine- Tiger’s Pond Heirloom
Michael Douglas, Catherine Zeta-Jones, ma section of IFFI features culturally and aesthetically remarkable (Dir: Natesh Hegde) (Dir: Upamanyu Bhattacharyya)
their son Dylan at IFFI, 2023 films, showcasing the best of the year. Experience the magic of cine-
ma at IFFI 2024. For more information, visit official website: https://
www.iffigoa.org/.

Film Bazaar 2024: South Asia’s Largest Film Market

Film Bazaar was initiated by the NFDC in 2007 It is organized
every year alongside the prestigious IFFI in Goa. Film Bazaar is a
converging point for South Asian and international filmmakers and
film producers, sales agents, and festival programmers for potential
creative and financial collaboration. Over the years, films such as Indian Women Atlas Rani Gaidinliu (Dir: Dimple U-Kiang Nangbah Bharti And Bibo
(Dir: Sunil Dhanker) Dugar & Deepak SV) (Dir: Devendra Chopra) (Dir: Sneha Ravishankar)
The Lunchbox, Margarita With A Straw, Chauthi Koot, Qissa,
Ship of Theseus, Titli, Court, Anhe Ghode Da Daan, Miss
Lovely, Dum Lagake Haisha, Liar’s Dice, Thithi and many other
Co-Production Market, Film Bazaar
films have been through one or more programs of the Bazaar.
More details available on: https://filmbazaarindia.com/

Goodbye Guruji Koduwa the nightbird

(Dir:Arunjit Borah) (Dir: Bidyut Kotoky)
MIFF
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 NFDC CATALOGUE
Pather Panchali
(Dir: Satyajit Ray)

BHARATATCANNES

National Museum of Indian Cinema

NFDC-FD Complex, 24, Dr. Gopalrao Deshmukh Marg, Mumbai – 400 026
T 91 22 3524 8444 E [email protected]
www.nfdcindia.com | www.cinemasofindia.com | www.nfai.nfdcindia.com | www.nmicindia.com

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 NATIONAL MUSEUM OF
INDIAN CINEMA

BHARATATCANNES

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 NATIONAL MUSEUM OF NATIONAL MUSEUM OF
INDIAN CINEMA INDIAN CINEMA

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 NATIONAL MUSEUM OF
INDIAN CINEMA

BHARATATCANNES

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 NFDC-NFAI

4K RESTORATIONS BY
NATIONAL FILM
ARCHIVE OF INDIA

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 NFDC-NFAI
The Film Collection z  ore than 20,000 Indian and foreign films
M
are presently housed in celluloid format in

NATIONAL FILM z In 1964, modest beginning, erstwhile NFAI

was housed in small shed in the premises
NFDC-NFAI’s film storage vaults. Some
films have multiple copies in different
formats but some have status of single –

ARCHIVE OF INDIA
of the Film & Television Institute of India,
rare film in collection. The Film collection
Pune, with deposits of hundreds of film
of NFDC-NFAI is housed in 27 state-
reels in celluloid 35mm & 16mm. The
of-the-art, temperature and humidity-
NFDC-NFAI has today grown in structure
controlled vaults which are functional 24x7
and experience, to be counted among
by maintaining archival temperature and
the leading film Archives of the world. In

T
he need for preserving film as art and relative humidity standards.
The National Film its early years it successfully faced the
historical documents has been recognized extremely difficult task of hunting, acquiring
Archive of India all over the world. The task of preserving and salvaging what had survived of the
(NFDC-NFAI) and cinema in all its varied expressions and forms foundations of Indian cinema. And today, Research & Documentation
is best entrusted to a national organization in spite of limited resources, it continues Centre - Stills, Paper and Poster
National Film Heritage having adequate resources, a permanent set- to carry on this work and also Acquire Collections
Mission preserves up and the confidence of the local film industry. and Preserve recent and contemporary
Thus, the National Film Archive of India was productions of the world’s most popular
and restores Indian established as an independent media unit under and prolific film industry.
z  he Research and Documentation Section
T
cinema, safeguarding the Ministry of Information and Broadcasting. of NFDC-NFAI houses a collection of
The National Film Archive of India is the outcome z  mongst the treasures of the NFDC-NFAI’s
A material relating to every period of Indian
classics and of the Government’s realization that films are film collection are the surviving fragments cinema. The section has photographs,
promoting film culture as valuable as books and other historical of D.G. Phalke and Baburao Painter, the prints of all unique photographs, film
documents and that the country’s film heritage silent films of Himanshu Rai and Franz posters of various sizes, song booklets
through screenings needs to be preserved for posterity. Osten. A representative number of films and press clippings.
and international of the great film companies and studios of
the 1930s and 1940s such as the Prabhat
collaboration The aims and objectives of Film Company, New Theatres, Bombay Library
Talkies, Shri Bharat Laxmi Pictures,
NFDC-NFAI are: Minerva Movietone, Wadia Movietone, z he NFAI Book Library holds books on
T
Gemini, Vijaya Vauhini and others. Equally cinema from across the globe. It has
z  o trace, acquire and preserve for posterity
T important are the archive’s holdings of the periodicals on Cinema published in various
the heritage of National cinema and build great independent banners which emerged languages as well as film scripts received
up a representative collection of World after the collapse of the studio system in from the Central Board of Film Certification
Cinema; the late 1940s, such as those created by (CBFC) are also available. Censor records
Mehboob Khan, Raj Kapoor, Bimal Roy, going back to the 20s and bound volumes
z  o classify and document data related to
T
Guru Dutt, A.R. Kardar, L.V. Prasad and of Indian film magazines from the 30s
film, undertake and encourage research on
B. Nagi Reddi etc. Alongside examples of onwards are among the other important
cinema and publish and distribute them;
the mainstream cinema, excellent films of materials available for reference and study.
z  o act as a center for dissemination of film
T major works of the authors of new Indian
culture in the country and to ensure the cinema such as Satyajit Ray, Mrinal Sen,
cultural presence of Indian cinema abroad. Ritwik Ghatak, Adoor Gopalakrishnan,
Shyam Benegal, Mani Kaul, G. Aravindan,
Kumar Shahani, John Abraham, Janu
Barua, Girish Kasaravalli and others are
also preserved by the archive.

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 NFDC-NFAI

Research and Film Studies National Film Heritage z  he Restoration project for more than 2200
T  Four restored films were screened at
Mission (NFHM) films, including features and shorts, with ARCUREA 2024 Restored film festival,
a budget of INR 363 crores commenced Kolkata from 16th March 2024 to
z  he NFDC-NFAI actively promotes research
T
in 2023. The titles have been shortlisted 21st March 2024. The films included
on Indian Cinema through its Research  he government of India (Ministry of Information
T
by forming language wise committees Parashakthi (1952), Tero Nodir Parey
Programs. It assigns monographs on & Broadcasting) launched the prestigious
consisting of filmmakers, documentary (1961), Aadmi Aur Aurat (1984), New
eminent Indian film personalities to film ‘National Film Heritage Mission (NFHM)’ in 2016,
filmmakers, film historians, producers etc. Delhi Times (1986)
scholars which helps in documenting their with the objective of saving the Indian cinematic
The process involves removal of defects
film careers, Research Fellowships on heritage. The mission aims at preservation,
in the digitized film such as scratches,
themes related to Indian Cinema, Audio- conservation, digitization, and restoration of Major films for which the new
color mismatch, missing frames etc.,
visual History recordings of senior living film heritage of India. Being the custodian for 4K restoration is in progress at
DCP mastering, adding of subtitles, and
artistes and technicians. preservation of Indian filmic heritage and having NFDC-NFAI are:
creation of restored and reference copy
holdings of more than 2 lakh celluloid reels,
files. NFDC-NFAI is currently working on
NFDC - National Film Archive of India (NFAI), has z aj Kapoor Films: Awara, Shree 420,
R
Dissemination of Film culture the restoration of 300 films as of date.
been tasked with the implementation of NFHM. Sangam, Mera Naam Joker
z  ollowing restorations of NFDC-NFAI have
F z  itwik Ghatak Films: Subarnarekha, Komal
R
 he progress of NFHM from 1st Jan 2023 to
T
z  FDC-NFAI organizes film screenings for
N been showcased as parts of the following Gandhar
31st March 2024 in the field of preservation is
Film Circle Members at its own premises events:
as follows: z 
M alayalam Classics: Navalokam,
and also supports many film festivals  4K Restored version of Satyajit Ray’s
z 
P reventive Conservation project for Unniyarcha
conducted in India & Abroad. In addition Pratidwandi (1970) by NFDC-NFAI was
to screening activities, specially selected 62,242 film reels is underway. The project z  0s Bollywood: Yaadon Ki Baarat, Amar
7
exhibited at 75th Cannes Film Festival Prem, Kati Patang
images from the collection of the NFDC- involves arresting of decay and repairing
on May 19th 2022 in Cannes Classics
National Film Archive of India have been of damages in film reels, cataloguing and z Parallel Cinema: Bhumika, Aghaat, Katha
Section.
showcased on the social media handles of meta-tagging and re-arrangement of film
z Films Division Documentaries
NFDC-NFAI. reels in the vaults as per international  
On legendary actor Dev Anand’s
standards. centenary, “Dev Anand@100 – Forever
z 
U nder Digitization project NFDC-
Young’ festival was screened four of his Services Offered for
International relations classic films at 55 PVR Inox cinemas Restored Films
(FIAF and others) NFAI is using the best of technological
across 30 Indian cities including
advancements by using the ARRI-XT z  ooking a DCP of a film restored by NFDC-
B
Mumbai, Pune, Goa, Ahmedabad,
Scanners for picture and Sondor audio NFAI for a screening at a Film Festival or
z rstwhile NFAI has been a member
E Chennai, etc., during 23rd & 24th Sept
scanners. The process involves scanning any institution programming Indian cinema
of the International Federation of Film 2023. The films included C.I.D. (1956),
of film reels (at 2K/4K) and reference copy
Archives (FIAF) since May, 1969.Recently, Guide (1965), Jewel Thief (1967) and z  istribution of a newly restored film in
D
creation. NFDC-NFAI has digitized 2,496
NFDC-NFAI has also become the Johny Mera Naam (1970). collaboration with the rights holders in any
films during this period, including more
member of Association of Moving Image than 900 feature films.  Seven restored films under NFHM were territory worldwide
Archives (AMIA).. also screened at 54th International
z onstruction of archival facility for
C z 
C ollaborating with NFDC-NFAI on
Film Festival of India (IFFI), Goa. The restoring a specific film through donation
preservation of material restored is under
films included Bidyapati(1937), Pathala or sponsorship
construction at NFDC-NFAI campus, Pune
Bhairavi (1951), ShyamchiAai (1953),
to maintain dust-free, low humidity, and
Bees Saal Baad (1962), Haqeeqat
low temperature conditions. It is expected
(1964), Guide (1965) and Chorus
to be completed in 2024.
(1974)
Contact: [email protected]
[email protected]

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 HIGHLIGHTS FROM FICCI-EY REPORT 2024

HIGHLIGHTS FROM Filmed Entertainment grew

15% to reach an all-time high
Monetization of the releases

INDIAN FILM SECTOR of INR197 billion Y  ross box office revenues increased 14%
G
to INR120 billion in 2023. The growth
was driven by Hindi cinema’s revival at
2023-2024 Y  ,796 films released in theaters during
1
2023, 11% higher than in 2022
Y
the box office
Industry discussions indicate that 100
Y Screen count increased 4% million people visit cinema halls in India
Y  omestic theatricals grossed INR120
D Y  key trend noted in 2023 was that
A
billion for the first time, led by a growth in cinema-goers waited for movie reviews
ticket prices and only then took a call on whether to
The filmed entertainment industry Y  39 Indian films released across 38
3 watch the film in a cinema, or wait for
countries, up from 33 countries in the its OTT or television release. This made
is currently experiencing a period of a very strong case for making films
previous year
growth. Theatrical box office collections “worth it” by providing an incomparable
Y INR7.5 billion was generated from theatrical experience, and getting the
have reached record-breaking levels in cinema advertising in 2023, a 50% rise marketing right
attributed to successful movies
recent months, signaling a promising Y  6 films grossed INR1 billion or more in
3
Y  he segment is expected to grow at a
T 2023 as compared to 22 such films in
trend for the future. Moreover, the CAGR of 7% to INR238 billion by 2026, 2022
rising prosperity of audiences suggests led by increased affluence, more high-
Y  ut of the top ten movies that crossed
O
quality mass content, and innovations in
that this upward trajectory is likely pricing, infrastructure and distribution the INR1 billion mark, six were in Hindi
and the remaining four were in South
to persist. The industry is poised Indian languages
for significant changes in the times Film releases by language Y  ther language films comprised 15 south
O
ahead. Reinvention will be a central Indian language films and one Punjabi
language film
 f the 1,796 films released in theaters
O
theme across various aspects of the Y
in 2023 across languages and dubbed Y  ilm viewership remains a very important
F
industry, including different distribution versions, the highest number of films part of television; film channels generated
were released in Telugu (317), Tamil 26% of total TV viewership in 2023, up
channels, types of content, and (271), Kannada (241), Malayalam and from 25% in 2022
operational models. Adaptation and Hindi (218 each)
Y  everal film channels experimented with
S
innovation will be crucial for navigating Y  creen count increased 4% to reach
S simultaneous release of TV premieres on
9,742 screens led by the north-east, multiple movie and/ or GEC channels,
the evolving landscape of filmed which added 10% new screens and then by increasing marketing spends and
Hindi speaking markets, which added 6% increased interactivity
entertainment and ensuring continued
success in the years to come.

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 HIGHLIGHTS FROM FICCI-EY REPORT 2024
International theatricals Films released on
continue to grow OTT platforms

Y  39 films released across 38 countries, up

3 Y  ver 400 films released on digital
O
from 33 countries in the previous year platforms in 2023, a growth of 30% over
2022
Y  hey generated a gross box office
T
collection of INR19 billion, 19% more than Y  igital rights volumes increased a healthy
D
2022 30%
Y  hile significant progress has been
W Y  he subscription model is expected to
T
made in growing overseas theatricals remain a key driver of growth for OTT
independently, further tapping into the platforms, propelling the expansion of this
Chinese market can be a crucial growth rapidly evolving market, and hence the
driver demand for digital rights is expected to
remain robust in the near future

Future Opportunities

Y  he film segment is expected to continue to

T Y  ridging the gap between travel and
B
grow, driven by theatrical revenues as Hindi entertainment by unlocking the potential

BHARATATCANNES
movies go mass market in their storytelling, of 24/7 cinemas at transport hubs
incorporate more VFX to enhance the like airports and railway/ bus stations,
movie-going experience and expand more hospitals, business districts, and large
aggressively into tier-II and III cities housing colonies/ gated communities, can
be explored
Y  pening-up of culturally similar markets
O
like China and the middle east present Y  xploring innovative pricing strategies –
E
immense growth potential in overseas especially in Tier II and III cities – such as
revenues introducing loyalty passes, group passes,
or bundled offerings including food and
Y  he theater-going audience size to
T beverages, and merchandise, undertaken
increase as India’s affluence increases as pilot initiatives could be used to assess
Y Investments will increase in cinema their effectiveness in driving footfalls and
infrastructure by way of affordable “janta consequently, revenue growth
cinemas” (a level between the multiplex Y  he total TVOD opportunity on digital
T
and the single screen) where middle and platforms is estimated by us at
upper middle classes can feel comfortable approaching US$0.5 billion by 2024 end,
in enjoying an evening out with their a portion of which relates to films
families
Y  he acceptance of the “sachet model”
T
Y  s part of the smart city initiatives having
A by the middle classes across a range of
intelligent transportation networks to different impulse purchases will result in
save time and reduce parking struggles, the growth of pay-per-view and pay-per-
there will be a surge in the construction download film experiences, across rural
of modern cinema complexes. This and urban markets
symbiotic relationship between smart
city initiatives and a thriving cinematic
landscape would grow footfalls

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 ost-production revenues grew
P Y  ommercials contributed 5% to 10% of the
C
VFX segment’s revenue, a figure poised for
20% as content boundaries further growth and CGI adoption scales and

HIGHLIGHTS FROM dissolved

Y
more international brands enter India
 I, machine learning, and real-time
A

ANIMATION AND VFX Y  ontent localization drove growth in 2023,

C
as major OTT platforms released content
in 10 to 15 languages and south Indian Y
rendering transformed VFX
 dvancements in real-time rendering
A

2023-2024 language movies were dubbed into five to

seven languages
provided artists with instant visualization of
complex scenes, crucial for the interactive
and iterative process of VFX creation
Y  ubbing of English content into Indian
D
languages accelerated, with 46% of viewers Y Increased adoption of AI and machine
consuming it in their native languages. The learning in VFX was noted. Benefits included
Indian audience for English SVOD content efficiency and automation of tasks, like
increased by 124% upscaling, accelerated CGI pre-visualization
The trends in the animation VFX and realistic motion creation
Y  I technologies allow for realistic, efficient
A
and VFX space in 2023- and cost-effective dubbing.
Y The Indian VFX segment grew 10%
2024 indicate that the Y  3% to 5% increase in cost to enable
A VFX segment is expected to
Y Domestic VFX demand, which has a 35%
overall VFX segment in share of segment revenue, thrived due to dubbing can open-up new revenue grow at a CAGR of 17.5% by
increased VFX usage opportunities.
India has been growing. The 2026 to reach INR185 billion
Y Extensive application of VFX and digital
demand and activity has effects in ad films added between 5% and
Key drivers of segment’s Key drivers for the projected growth include:
picked up in this segment as 10% to VFX revenue, indicating a potential
area of growth growth Y Commissioning of new projects
demand and consumption
Y Major Indian film productions, including Y  overnment incentives will boost
G
patterns continue to evolve. ‘Animal’ and ‘Project K’, increasingly Y  dvertising agencies increasingly used
A competitiveness, attracting foreign
incorporated VFX, accounting for about computer-generated imagery (CGI) and collaborations with up to 30% cost
The segment grew 6% 25% to 30% of their total project costs digital effects to enhance ads, from subtle reimbursement
in 2023 to reach INR114 Y ‘Adipurush’ featured over 4000 VFX shots
color grading to complex CGI integrations
Y  S demand for adult animation surged
U
billion. Y ‘Salaar’ employed more than 600 VFX shots
Y  FX provided more creative freedom,
V by 152%, opening significant market
flexible visual alterations, cost-effective opportunities for outsourcing work
Y  edchillies.vfx worked on several large-
R production, and reinforced brand identity
Y  ore industry partnerships to enhance
M
scale films which were also some of the top- Y In 2023, the global rise of CGI in advertising global co-production, financing
grossing films of 2023 like Dunki, Jawan, initially sparked by brands like Nike, opportunities, and demand for VFX and
Animal, Pathaan, Tu Jhooti Main Makkar gained momentum with Jacquemus and animation services
and 12th Fail Maybelline, leading to its widespread
adoption by both global and Indian brands Y  he talent gap hindering animation and
T
VFX is getting bridged through partnerships
Y  JIO’s new collection reveal, Amul’s mascot
A between major studios and educational
reimagination, and Baskin Robbins’ logo institutions
revamp underscore 2023’s trend of CGI-led
ads

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 HIGHLIGHTS FROM FICCI-EY REPORT 2024
ANIMATION Content distribution strategies Increased adoption of AI and machine learning
evolving
Demand for animated content steadily in VFX was noted .Benefits included efficiency
increasing Y “ Bharat Hain Hum” was launched globally and automation of tasks, like upscaling,
 ouTube remains the number one digital
Y on Amazon Prime Video and Netflix, and
Y
platform in India for animated content broadcast on Doordarshan in India accelerated CGI pre-visualization and realistic
Y  lobally, Netflix and YouTube account for
G Y  umbai-based kids’ YouTube channel
M motion creation
82% of children’s content consumption, PunToon Kids has formed a partnership
with YouTube alone contributing to 50-60% with Doordarshan to broadcast its content
of animated content consumption in India on DD
Y  tudios maintain interest in YouTube due
S Y  his multi-platform evolution will benefit
T
to its superior data analytics capabilities studios in terms of diverse revenue Creating Skilled Animation/VFX Emerging opportunities for
compared to television opportunities via roader reach of IPs Professionals Indian studios
Children’s media consumption shift
India has adopted a proactive approach that aims Y  etween January 2020 and October 2023,
B
Y Anime grew and diversified Animation embracing AI, Unreal to cultivate skills from an early age, preparing for the demand or adult animation in the US
Y India holds the second-largest anime fan Engine, and Cloud technologies the increasing complexity of global work flowing (excluding anime) surged by 152% Q The
base globally and is expected to contribute to India. growth was approximately three times
to 60% of the worldwide growth in anime higher than the supply growth, indicating
Y  I is set to revolutionize animation by
A Y  TII and Toonz Animation collaborated
F a strong market opportunity, particularly
interest in the coming years in offering animation and VFX courses at
automating routine tasks, freeing animators during a time of heightened production
Y  2 million to 15 million kids in India watched
1 to focus on creative aspects like character Pune, with plans for an incubation center to budget scrutiny
TV shows every week that were anime- design and storytelling, which are expected encourage student-driven IP development
focused to remain predominantly human-driven Y  FDC Film Bazaar has partnered with
N
Y  eliance Animation Academy partnered
R Southeast Asian Audio-Visual Association
Y  nime content constituted about 15% to
A Y  nimation studios anticipate a threefold
A with Sandip University, Allen House, and (SAAVA) and the ATF IP Accelerator Project
20% of the TV programming schedule increase in efficiency and a rise in EBITDA Pimpri Chinchwad University for early-grade Market (AIPA) for a multi-year collaboration,
by 10% to 15% due to AI animation and VFX training enhancing film and TV co-productions
Y J ioTV has partnered to launch Animax in
 nreal Engine’s adoption increased due to
U Y  echnicolor enhanced its training programs,
T across Asia. The partnership encourages
India while Prime Video introduced the Y
its cross-platform support and efficiency in both internally and at the Technicolor diverse international projects that could
Animax+GEM pack, featuring a selection
animation CreativeStudios Academy, to support further increase demand for animation and
of popular Japanese anime, dramas, and
careers in audio visual, gaming and VFX services in the Asian market
variety programs with English subtitles
Y  growing trend was noted towards using
A computer graphics, collaborating with
cloud-based workflows, chosen for their Y  he Asia TV Forum (ATF) and Ties That
T
Y  he popularity of anime in India has spurred
T government ministries to promote creative
efficiency, scalability, and enhanced security Bind (TTB) have formed a partnership to
an increase in merchandising and licensing. arts careers
features introduce the ATF x TTB Animation Lab
Sony YAY! acquired the rights to Naruto
& Pitch44 which aims to unite Asian and
merchandise for India
European producers, fostering exploration
of new financing and co-production
opportunities
Y  roposed film cities being developed across
P
UP, Maharashtra, Tamil Nadu, and other
states to provide opportunities for large
international studios to set up operations in
fit-for-purpose locations

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 TOP FILMMAKING CENTRES OF INDIA

FILM MAKING
CENTRES OF INDIA

T
he world’s largest filmmaking country inextricably linked to the history of Indian cinema
provides filmmakers with a number of (along with neighbouring Pune). Other major
advantages over many other countries, Indian film production cities include Chennai,
including geographical and cultural diversity, Kolkata, Hyderabad, Thiruvananthapuram,
world-class production and post-production Bangalore, Bhubaneswar, Guwahati, Patna,
facilities, skilled labour, and lucrative incentives. and Delhi NCR, among others.
Indians speak 22 languages in addition to While Bollywood films continue to draw
hundreds of dialects. No surprise, then, that audiences in India, films from other regional
India is a land of many cinematic traditions, languages have recently taken centre stage.
producing around 2,000 films per year in a Because of the rise of OTT and streaming
variety of languages, each with its own distinct platforms, audiences have become language
literature, history, theatre, and music. agnostic, and films in languages such as Tamil,
Telugu, Kannada, Marathi, Bengali, Punjabi, and
Indian films are made in a variety of locations
Bhojpuri are no longer geographically limited. It
across the country, and each of these
is now well established that a compelling story
filmmaking centres serves as a hub of cinema
with universal themes can cross borders. This
in at least one major language.
new development is certain to add significantly
The Hindi film industry is headquartered in to the breadth and depth of Indian cinema.
Mumbai, India’s film capital. Marathi-language
films are also produced in the city, which is

Indian films are made in a variety of

locations across the country, and each of
these filmmaking centres serves as a hub of
cinema in at least one major language

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 TOP FILMMAKING CENTRES OF INDIA

MUMBAI CHENNAI
MAHARASHTRA TAMIL NADU
used to describe an old cinematic tradition The dominant strain of Tamil films, like that
based on a formulaic and crowd-pleasing mix of of Hindi popular cinema, is based on the star
melodrama, romance, moral conflict, and music. power of its male superstars, most notably
This extravagant form of storytelling is also very veterans Rajinikanth and Kamal Haasan. A
popular in other filmmaking centres. However, it new generation of celebrities has carried on
is far from the only type of cinema to emerge from the tradition. However, the industry has seen
Mumbai. a steady output of films from young directors
working outside the conventional star system
The city has always had two distinct filmmaking with great success in the past and in recent
streams – one aimed at providing glitzy and times.

M
emotionally satisfying entertainment to the
umbai, Maharshtra’s capital and home

C
masses, and the other at appealing to a niche hennai, the capital of the Southern Mani Ratnam, who also makes films in Hindi,
to Bollywood (Hindi cinema), is the
audience with a preference for more realistic films. Metropolis is home to the hugely is one of the better-known Chennai directors
epicentre of film production activity.
successful and productive Tamil film among audiences throughout the country.
Cinematography was introduced in India in 1896 Several of these films have travelled to
by Lumiere Brothers when they showcased six international festivals in recent years while finding industry, which has given Indian cinema some The state government, committed to providing
short films at Watson Hotel, Mumbai. Since then takers on the domestic distribution circuit as well. of its biggest and most enduring stars over world-class film production infrastructure, has
the city has nurtured the entertainment industry the decades. The Tamil film industry has been upgraded infrastructure at the M.G.R. Film
and has contributed significantly by providing The state’s initiatives for film promotion include, active since the mid-1910s. While the political City by establishing an animation and visual
considerable talent, infrastructure and opportunity among other things, the creation of Maharashtra influence of Tamil film stars and screenwriters effects studio, renovating dubbing theatres,
to the sector. Film Cell (MFC) to facilitate all film shooting is well documented, the Tamil film industry and constructing hostels, among other things.
approvals in an integrated manner from a single has always been an efficient and industrious
The thriving western Indian metropolis produces location; the formation of the Film Tourism industry with a well-developed infrastructure The AVGC industry in Tamil Nadu has shown
nearly 200 Hindi-language films each year. It Promotion Council under the aegis of Maharashtra since its inception. It has always kept up with a steady growth in recent years and the state
also produces Marathi-language films, which Tourism; and a ready-to-shoot, pollution-free the rest of Indian cinema’s growth. is home to a number of major AVGC studios,
flourished in the hands of pioneering stalwarts infrastructure in the form of Dadasaheb Phalke startups and talent.
like V Shantaram and Bhalji Pendharkar, among Indeed, at several points throughout its history,
Chitranagri Film City in Mumbai. The Film city
others, in the silent era and beyond. it has set the standard for others to follow,
offers infrastructure comprising of 16 studios
particularly in matters of technology and film
The nearby city of Pune, is also a thriving hub having over 85,000 sq. ft. (approx.) of built-up production practices. Tamil cinema is popular
for AVGC sector and a preferred destination for air-conditioned and acoustically treated studio not only in Tamil Nadu, but also in the other
creation of animation, visual effect, Gaming and facilities-with power, water, trained support staff, southern states of India, as well as among the
Comics. The city has abundantly available artistic catering and hospitality facilities along with 521 Tamil expatriate community worldwide.
talent and is home to the Film and Television acres of lush green land with more than 60 ideal
Institute of India (FTII), one of the oldest and finest shooting locations. Since 1948’s Chandralekha opened the
institutes in the field of training in film making and floodgates for nationally distributed films from this
The state government is also set to provide industry part of India, Hindi versions of Tamil box office
television programme production.
status for films and the broader entertainment hits as well as bilingual productions mounted in
A large portion of the Hindi films produced in segment to help expand infrastructure in the state Chennai have been successful throughout India.
Mumbai are classified as Bollywood, a term beyond the Film City.

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 TOP FILMMAKING CENTRES OF INDIA

HYDERABAD
ANDHRA PRADESH THIRUVANANTHAPURAM
TELENGANA KERALA
Large sections of the Telugu film industry is divided into a popular genre and a socially
were based in Chennai until about three relevant strand.
decades ago. Today, however, Hyderabad is
Kerala cinema rose to national and international
the epicentre of Telugu filmmaking. Filmmaker
prominence as a result of the films made by
S.S. Rajamouli and male stars such as Prabhas
Adoor and Aravindan in the 1970s and 1980s.
have achieved national acclaim, owing largely
To this day, the tradition of creating realistic and
to the phenomenal success of the period
meaningful cinema continues.
action drama Baahubali.
Recently, the Kerala government is mooting a
Hyderabad is a world-class film production
plan to enter into the online content streaming
centre with award-winning talent on both sides
space to provide a space for lower budget films

H T
of the camera. The state provides cutting-edge
yderabad is the hub of Telugu cinema, hiruvananthapuram (formerly Trivandrum) without them having to worry about viability.
post-production, animation, and special effects
which is one of the most prolific and is the capital of Kerala. The city, along The State government has also launched the
capabilities, stunning filming locations, cutting-
commercially successful in India. There with Kochi, is the nerve centre of initiative for women directors as part of making
edge studio facilities, and comprehensive
are 2800 movie theatres in Telengana and Malayalam cinema. Although films were made the film industry more gender-inclusive.
support services to ensure a seamless
Andhra Pradesh, the two separate states that in the state during the silent era, cinema in
production experience from start to finish. Fiscal incentives are available to regional films,
the formerly united Andhra Pradesh has been Kerala was slow to develop, with only a handful
full length feature film, children’s films and
split into, the most in any single region of India. Telangana’s progressive and forward-thinking of Malayalam films produced by the time India
documentary films produced in Kerala under
government has not only implemented gained independence in 1947. However, when
Telugu films have released more films in a single the state’s Film Policy.
new policies to support the growth of the the film industry in this region of the country
year than any other Indian language, including
entertainment sector, but is also actively took off in the 1950s, it not only quickly caught The Chitranjali Studio under Kerala State
Hindi, on several occasions in the last decade.
seeking ways to develop the state as a global up with the rest of Indian cinema, but it also Film Development Corporation with 70 acres
Many big-budget Hindi and Tamil films are
M&E hub. established itself at the forefront of the Indian of land is located near Kovalam Beach and
official remakes of Telugu hits, demonstrating
parallel cinema movement. Malayalam film other tourist locations. The studio has state of
the mass appeal of Hyderabad-produced films. More than 200 AVGC-XR companies will soon
superstars Mohanlal and Mammootty are well- the art pre-production, production and post-
Telugu cinema may lag behind Malayalam and be able to operate from the IMAGE Towers in
known throughout the country, and directors production facilities.
Tamil films in terms of artistic quality and global Hyderabad, utilising shared facilities such as
such as Adoor Gopalakrishnan, Shaji N. Karun,
recognition, but it remains the most robust of motion capture studios, preview theatres, and Another film studio is the Kalabhavan Digital
and the late G. Aravindan are honoured at
the southern industries. so on, which are spread across this 600,000 Studio, in Thiruvananthapuram, is a division of
international film festivals.
square foot area. Chitranjali Studio offering production facilities
Some of India’s best film production studios are
When Malayalam cinema began to grow into for TV programs.
located in Hyderabad. They were founded by
a full-fledged industry after independence, it
well-known Telugu film industry figures such as
was headquartered in Chennai. It wasn’t until
B. N. Reddy, L.V. Prasad, Akkineni Nageswara
the late 1980s that it was completely relocated
Rao, and D. Rama Naidu.
to its current location in Thiruvananthapuram.
Malayalam cinema, like other Indian cinemas,

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 TOP FILMMAKING CENTRES OF INDIA

BANGALORE KOLKATA
KARNATAKA WEST BENGAL
skill development, infrastructure growth, More than their counterparts in any of the other
ecosystem expansion, marketing support, and film production centres of India, screenwriters
financial concessions and incentives. and directors in Kolkata, especially those that
work in the non-mainstream sphere, continue
The policy has encouraged exports by attracting
to draw inspiration primarily from literature. It
global production, while also encouraging
is a tradition that dates back to the silent era,
indigenous productions such as original IP and
a period during which Bengali cinema, unlike
short films, as well as start-ups in areas such as
other cinemas that were beginning to take
game development, virtual reality, augmented
roots in that period, produced social satires
reality, and educational technology.
and dramas adapted from literary works rather
In terms of infrastructure, the state has stated than mythological epics.

K B
annada films are produced in Bangalore, its intention to build a world-class AVGC engali-language cinema, known the world
The West Bengal government is considering
India’s Silicon Valley. The first Kannada infrastructure. Karnataka has established India’s over for the celebrated masterpieces
opening a single window to process requests
film was produced during the talkie era, first AVGC centre of excellence, complete with of Satyajit Ray, is produced in Kolkata
to shoot movies in the state, saving producers
and the industry grew steadily until the late a post-production lab (including an incubator, from studios located largely in Tollygunge in the
the trouble of knocking on the doors of
1940s. Dr. Rajkumar’s popularity as a lead actor game testing facilities, a render farm, and so city’s southern suburbs. Many of the pioneers
multiple agencies. In order to ensure the overall
in mythological epics helped Kannada cinema on) and cutting-edge technology. of early Indian cinema worked in this city in the
development and promotion of the Bengal
reach new heights in the 1950s. The 1970s silent era. In fact, Hiralal Sen is known to have
Bengaluru International Film Festival (BIFFESl), film industry, the government has issued a
and 1980s are widely regarded as Kannada made films here well before India’s officially
Innovative International Film Festival, Abstract notification for the establishment of the West
cinema’s golden era, enriched by the work of recognized first full-fledged fiction film, D.G.
Synergies International Short Film Festival, and Bengal Film Academy (WBFA).
directors such as B.V.Karanth, Girish Karnad, Phalke’s Raja Harishchandra, was screened in
Karnataka State Film Awards are all organised
and Girish Kasaravalli. Mumbai.
by the state to promote filmmaking.
Samskara, based on a novel by celebrated Commercial Bengali cinema has thrived right
writer U.R. Ananthamurthy and directed by since the silent era, barring a few troughs in
Pattabhi Rama Reddy, launched the Karnataka the 1980s and 1990s caused by the death of
parallel cinema movement in 1970. its most luminous superstar Uttam Kumar and
the retirement of his on-screen partner Suchitra
While alternative cinema has thrived in the
Sen. But it is for the critically acclaimed works
state, commercial cinema has also thrived
of three masters – Ray, Ritwik Ghatak and
despite not having the financial clout of Tamil
Mrinal Sen – that Kolkata enjoys global fame.
and Telugu films.
Directors such as Tapan Sinha and Tarun
The Karnataka Animation Visual Effects, Majumdar built their careers around films that
Gaming, and Comics Policy (KAVGC) 2017- struck a fine balance between artistic merit and
2022 was developed by the state to address commercial potential.

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 TOP FILMMAKING CENTRES OF INDIA

LUCKNOW DELHI
UTTAR PRADESH NATIONAL CAPITAL REGION
State for Film Shooting.” The state government Some of the most popular organisations at
has announced a new Film Policy with the sole Noida Film City include the Asian Academy
purpose of projecting the country’s cultural, of Film and Television, Asian School of Media
mythological, historical heritage, and glorious Studies, International Film and Television Club,
traditions not only within the country, but also International Film and Television Research
internationally through widespread publicity. Centre, International Public Broadcasting
Under the new film policy, artists and producers Forum, International Women’s Film Forum, and
from within and outside the state will be provided International Children’s Film Forum.
with a welcoming environment and appropriate
The Delhi government recently approved the
facilities.
Delhi Film Policy, 2022, which aims to promote

U I
The Film Bandhu, Uttar Pradesh has been the city as a filming and other related activity
ttar Pradesh is the rainbow land where the ndia’s capital, with its unique historical and
established as a nodal agency to ensure the hub through a variety of measures, including
multi-hued Indian Culture has blossomed cultural heritage, has served as the backdrop
availability of all film production-related facilities the creation of a Rs 50 crore ‘Delhi Film Fund’
from times immemorial. The bustling city for many iconic films, television shows, and
under one roof. The Uttar Pradesh government to assist producers and the annual hosting of
of Lucknow, the capital of Uttar Pradesh, retains web series. The city is home to three World
offers a maximum subsidy of Rs. 1 crore for films an international film festival.
its essence of grandeur in its kaleidoscopic Heritage sites: the Qutub Minar, the Red Fort,
that have spent at least half of their total shooting
experiences as a melting pot of art, culture, and Humayun’s Tomb. Delhi is a top priority for A single-window e-film clearance portal will be
days in Uttar Pradesh. Furthermore, units doing
cuisine, and architecture. From its vibrant culinary filmmakers and directors due to its abundance prepared under the policy, bringing together
outdoor shooting in the state will receive a 25%
scene and exquisite historical monuments to of beautiful locations and rich cultural heritage. over 25 agencies for various film production
discount on room rent when staying in UP State
its rich art and culture and remnants of colonial In addition to the availability of new talent, lower permissions. The government also intends
Tourism Development Corporation hotels/motels.
charm, the city of nawabs, as it is colloquially production costs, international connectivity, to issue Delhi film cards, which will provide
known, is as warm as its people. A Film Development Fund has been established and improved infrastructure, there are over 200 additional benefits and discounts. The tourism
in order to finance films in the state. A Single locations to shoot at. department will provide a Delhi film card worth
Many films have been shot in Uttar Pradesh over
Window Clearance System has also been Rs 1 lakh. It will assist film producers in obtaining
the years, with the majority of them taking place Filmmakers shooting in Delhi get shots of
established to facilitate the receipt of subsidies additional discounts from industry stakeholders
in the capital city of Lucknow. From Satyajit Ray’s everything from Old Delhi, monuments, and
for films shot or to be shot in Uttar Pradesh. such as accredited hotels, transportation
classic Shatranj Ke Khiladi to Rekha’s iconic Lodhi Garden to the high-rises and farmhouses
providers, and tourism operators.
film Umrao Jaan to more recent films such as In addition, the state government has announced of Noida and Gurgaon.
Atrangi Re, Satyameva Jayate 2, Mukkabaz, the establishment of a film city on 1,000 acres of A subsidy of up to Rs 3 crore will be provided
The Noida Film City in Delhi’s National Capital
Saand Ki Aankh, Mulk, and Article 15, the city’s land near Noida in the Delhi NCR. A film institute under the policy, depending on the number of
Region, established in 1988 to boost the film
culture, history, and various landmarks have been will also be established in the film city. days of shooting, the location and branding
industry in Uttar Pradesh, is a thriving filmmaking
showcased in various ways. of Delhi, the local hiring of actors and support
centre. This film city has several film studios owned
staff, and expenditure in Delhi at various stages
At the 52nd International Film Festival of India, by well-known film and television producers and
of production.
Uttar Pradesh was named the “Most Friendly covers an area of approximately 98,600 square
metres, or approximately 100 acres.

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BHUBANESWAR BHOPAL
ODISHA MADHYA PRADESH
Odia cinema developed its own idiom in also coordinates with other departments to
subsequent years thanks to the efforts of the obtain legal mandatory permissions needed
husband-wife team of Gour Prasad Ghosh for producers. MPSTDC offers discounts at
and Parbati Ghosh. The duo produced several state owned hotels and free of charge shooting
National Award-winning films, including the at selected locations. The state also offers
epochal Kaa. capital investment subsidies ranging from Rs
3-5 crores for creation of infrastructure along
Other production houses took roots in the 1970s,
with installation of equipment to establish film
including Diamond Valley Productions, set up
studios, film making, museum, aquarium, and
by entrepreneur Sarat Pujari. In 1975, the state
theme parks.
government stepped in to promote cinema

I B
by setting up the Odisha Film Development From the perspective of favorable film
n the eastern Indian state of Odisha, films are hopal, the capital city of Madhya
Corporation (OFDC). Five years later, the Kalinga policies adopted by states, Madhya Pradesh
made in Bhubaneswar and Cuttack. Pradesh, the winner of Indian
Studio came up with the support of Chennai’s has recently come up with a dedicated film
government’s national award for the
The first Odia-language film was made in 1936, Prasad Studios. Odisha currently produces an facilitation cell to work as a nodal agency
Most Film Friendly State in 2017, has served as
but until the 1950s only a handful of more titles average of 20 films a year. that would ease out the shooting permissions
the backdrop of many feature films from B.R.
were produced. Back then, the Odia film industry through a single window clearance system,
OFDC is the nodal organization for providing Chopra’s famous social thriller Naya Daur to
did not have production facilities of its own. according to a senior Madhya Pradesh Film
single window clearance for shooting feature Prakash Jha’s political drama Rajniti, Anusha
Films in the language had to depend on Kolkata, Facilitation Cell official.
films in Odisha. The incentives offered by the Rizvi’s Peepli Live, to social drama Aarakshan
which made moviemaking in Odisha difficult and
state include assistance of Rs. 10 crores to starring Amitabh Bacchan. The state offers incentives across the board, to
unviable.
filmmakers for making the first three Hindi or all kinds of shootings, whether these are films,
The state has made considerable efforts
In the late 1950s, the first cooperative venture to international language films. All feature films documentaries, webseries, or OTT platforms.
towards easing filming in the state by creating
produce, distribute and exhibit Odia films was set produced fully or partly in Odisha are exempted And then there is provision for certain special
a well-structured website, film friendly
up by Krushna Chandra Tripathy. The organization from entertainment tax; and producers of films incentives if the state is promoted from the
infrastructure, offering incentives, maintaining
was named Utkal Chalachitra Pratisthan, and it who utilize the facilities of Kalinga Studio Limited, tourism point of view.
databases, undertaking marketing and
produced several films in the 1960s that gave Film & Television Institute of Odisha and Kalinga
promotional initiatives.
Odia cinema a distinct identity. Prasad Colour Processing Laboratory are eligible
to get incentives in the shape of subsidy. Initiatives taken by the state for simplification
In 1961, another production house, Pancha
of film production include appointment of
Sakha, was set up by amateur artiste Dhira
Madhya Pradesh State Tourism Development
Biswal, who produced four hugely popular films.
Corporation (MPSTDC) as the nodal agency
His first production, Nua Bou, created a sensation
for film shooting clearance, incentives and
all across the state of Odisha.
subsidies in the state. The tourism department

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 TOP FILMMAKING CENTRES OF INDIA

DEHRADUN PATNA
UTTARAKHAND BIHAR
The state government also provides incentives in Manoj Tewari and Ravi Kishan are industry
the form of no entertainment tax for indigenous brands and the sole runners of the show until
films, children’s films produced by the National 2014, when releases like Nirahua Hindustani
Centre of Films for Children and Young People and Patna se Pakistan entered the market
(NCYP), and national and international award- in 2014-2015 and completely changed the
winning films. Any filmmaker can shoot in market. The industry saw a turnaround when
Uttarakhand for free, and there are numerous the highest grosser began pooling in close to
financial incentives available for films made in Rs 10 crores. The leading actors in the industry
Uttarakhand’s regional languages/dialects. The include the likes of Pawan Singh, Dinesh Lal
Uttarakhand government is also focusing on the Yadav, Khesari Lal Yadav and Madhu Sharma,
development of a film city in a specific location, Amrapali Dubey, and Kajal Raghwani.

D B
ehradun, the capital city of Uttarakhand, as well as the selection and development of ihar’s capital city Patna, located halfway
Film budgets have steadily risen over the years.
is one of the most popular tourist outdoor shooting locations. Nainital, Dehradun, between humid West Bengal in the
While local producers expand their operations,
destinations in the country, surrounded Mussoorie, Ali Bugyal, Ranikhet, Chopta, Auli, east and sub-humid Uttar Pradesh in
businessmen and Bihari expats from Nepal,
by high mountains and lush Sal forests. The Almora, Gwaldam, Chamoli, Munsiyari, and the west, is home to a thriving Bhojpuri film
Mauritius, and Fiji islands have also given the
city serves as a gateway to several popular hill Rishikesh are among the popular shooting industry.
Bhojpuri Film industry a shot in the arm by
stations such as Mussoorie and Chakrata, as locations.
Ganga Maiyya Tohe Piyari Chadaibo (Mother investing heavily in it and betting heavily on its
well as pilgrimage sites such as Haridwar and
Ganges, I Will Offer You a Yellow Sari), the success.
Rishikesh.
first Bhojpuri-language film, was released
These films remain extremely popular in parts
Several Bollywood films have been shot in in the early 1960s. However, the industry
of India where Bhojpuri speakers live and work.
Dehradun and Mussoorie, including Farhan expanded steadily as demand from people
However, because most of these films are
Akhtar’s Lakshya, Karan Jauhar’s Student of the speaking the dialect in India and elsewhere
made on a shoestring budget and in a hurry,
Year, Pan Singh Tomar, and Rituparno Ghosh’s increased. Bhojpuri cinema, which also
they are often lacking in technical acuity.
The Last Lear, among others. serves third and fourth generation migrants
in Surinam, Mauritius, Trinidad and Tobago,
At the 66th National Film Awards, Uttarakhand
Fiji, and Guyana, has its own star system and
was named the most film-friendly state. The The state government has expressed its desire
a dedicated audience base, but it has yet to
Uttarakhand Film Development Council is the to expand the industry by investing in a film
capitalise on opportunities to break into the
nodal agency for obtaining all shooting permits city in Rajgir, Nalanda district, 70 kilometres
national mainstream.
via a Single Window Clearance system. southeast of Patna, and organising film festivals
The last few decades have seen a significant to showcase the industry’s creative output.
increase in the production of Bhojpuri films, but
these have all been routine potboilers aimed at
an undemanding and easy-to-please audience.

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 TOP FILMMAKING CENTRES OF INDIA

RANCHI SRINAGAR
JHARKHAND JAMMU & KASHMIR
Post Jharkhand Film Policy 2015 the state The Jammu & Kashmir Film Development
witnessed flurry of film making and as of now Council (JKFDC) has been constituted to
more than 50 films have already been made and achieve the objectives of the Film Policy and
almost same numbers are in different stages transform it into a unique film destination.
of production. Some well-known films shot in
Jammu & Kashmir has a long and cherished
Jharkhand include Gangs of Wasseypur, Ranchi
tradition of film shooting, and its breath-taking
Diaries, A Death in the Gunj, National Award
locales, a large number of religious and heritage
winning film Chhuti (A Vacation), among others.
sites, dense forests, waterfalls, and a film-
Jharkhand offers incentives such as a grant exposed manpower make the area an attractive
of up to 50% of the total cost of making films site for film shooting and its development. The

R J
in Jharkhandi languages and a grant of up to Dal Lake dotted with innumerable houseboats
anchi is the capital of Jharkhand, which ammu and Kashmir has been a paradise
25% of the total cost of making films in Hindi, and the distant snow-covered mountains,
was formed in 2000 from the southern for film shooting for its mesmerizing
Bangla, Oriya, and other languages. There is along with Gulmarg, Sonmarg, and Pahalgam
part of Bihar. The city is located on the natural beauty and unparalleled scenic
also an exemption from entertainment tax for at higher levels, add unique colors to the
Ranchi Plateau of the Chota Nagpur plateau landscapes, and together with Jammu and
films produced or acquired by the Children Film surroundings.
system, with lofty flat-topped hills (pats) to the Ladakh regions, the state remains a filmmaker’s
Society, National Award winners, best Indian film
northwest. The plateau’s edge is marked by an delight for new locales. To further promote the The Tourism department of the UT has identified
in an international festival, documentary films
escarpment to the east and south of the city, from film industry in Jammu and Kashmir, a holistic 300 new destinations for film shootings and will
produced by the Central Government’s Film
which several scenic waterfalls cascade. Ranchi Film Policy - J&K Film Policy facilitate production houses as part of the efforts
Division, and so on.
is a melting pot of tribal cultures, indigenous art, to create nationally competitive infrastructure in
2021 - has been formulated based on the
and an abundance of oral traditions. Among the initiatives taken by Jharkhand to Jammu & Kashmir.
suggestions received from the film fraternity
promote films are: a single table system for the
Jharkhand Film Development Corporation Limited and studying the film policies of several states Attractive packages of assistance and
successful implementation of film policy and
is the body responsible for carrying out the in India. schemes/systems of financial support required
to provide better facilities to those involved in
Jharkhand Film Policy, 2015. JFDCL has a single in suitable cases are also provided. Non-
film production; and security arrangements for The policy aims to attract greater investment in
window film facilitation cell called SIWCOF (Single government organizations associated with the
film production. The state government intends the film sector and make Jammu and Kashmir
Window Committee for Films) that helps film publicity of cinema are also getting promoted.
to establish a Film City in Patratu, Ranchi, and a choicest destination for film shooting of both
production by providing timely shooting approvals
has already identified 200 acres of land for the national and international filmmakers. Under
and ensuring that filming goes smoothly. This
purpose. the policy, the government has set up single-
committee also makes recommendations on
window clearance mechanism to provide
the approval of films for subsidy as well as the
permissions for shooting within 2 to 4 weeks;
amount of subsidy.
prepared equipment, location and talent
directories besides offering fiscal incentives for
filmmakers coming to the UT.

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 TOP FILMMAKING CENTRES OF INDIA
Gangtok
Capital of Sikkim, which has its own brief history of cinema, has attracted prominent filmmakers such
as Satyajit Ray and Dev Anand. Sikkim was named the ‘Most Film Friendly State’ of India in 2019 at
the 67th National Film Awards. The state has made several appealing provisions to create a welcoming
filming environment for producers, directors, and local filmmakers.

The state is also working to establish a film city. In recent years, the state, particularly the picturesque
northern district, has served as the ideal backdrop for several Bollywood and regional films.
Sikkim provides all permits/permissions and paperwork through a single window system. The state
government has also identified, catalogued and developed promising potential shooting locations,
which have aesthetic and cinematic appeal.

Agartala Aizawl
Agartala is the capital of Tripura, a landlocked Aizawl is the capital of Mizoram, which is
hilly state in north-east India, with elevations home to numerous tribes with a diverse set of
ranging from 15 to 940 metres above sea religious practises. This small state, endowed
level, though the vast majority of the population with a diverse range of geographical features,

BHARATATCANNES
lives on the plains. The state would make an provides excellent opportunities for filmmakers
excellent backdrop for an adventure film in to explore its splendour. The scenery of
which the jungle plays an important role. Tripura Phawngpui Hills, Vantawang Falls, and Palak
is a state full of surprises, with five mountain Lake is just waiting to be photographed. If
ranges—Boromura, Atharamura, Longtharai, interested filmmakers want to shoot in this
Shakhan, and Jampui Hills—that are ripe for picturesque state, the state government is
exploration. ready to help with infrastructure and logistics.

Shillong Kohima
Meghalaya, or the Land of Clouds, is still Kohima, the capital of Nagaland, is known for
a virgin territory ripe for film production. In its Hornbill Festival and music, and has much
order to improve its infrastructure, the state more to offer as a pristine shooting location. The
recently agreed to join the Mumbai Academy mountainous state in northeast India, bordering
of the Moving Image (MAMI) and aspires to Myanmar, has enormous potential to become a
become a preferred location for filming. The filming destination, with the government making
state’s top attractions include waterfalls, caves, a concerted effort to implement film-friendly
rainforests, hill stations, and much more. The policies in order to attract outside shoots. The
crystal clear water of Dawki’s Umngot River, the first Nagamese language film premiered recently
sacred forests of Mawphlang, and the world- at the Nagaland Film Festival. The film was shot
famous living root bridges of Cherrapunji can entirely in Nagaland and is based on the inspiring
form a beautiful backdrop for any film and story of Mhonbeni Ezung, the youngest recipient
captivate audiences all over the world. of the National Bravery Award for Children.

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 AVGC-XR HUBS

CREATIVE
The AVGC-XR industry in India is experiencing unprecedented growth, attracting
CREATIVE HUBS OF INDIA global attention for its rich talent pool and high-end skill-based activities. Key players

HUBS OF INDIA
in the sector are primarily clustered in major metropolitan areas like Mumbai, Pune,
Bangalore, Chennai, Hyderabad, and Delhi NCR, reflecting the concentration of
major studios offering Animation and VFX services.

Each state government, alongside the Union government, is actively promoting

the AVGC-XR sector through tailored policies and incentives. In this landscape of
dynamic growth, Karnataka has emerged as a trailblazer with the recent approval
of its revised AVCG-XR Policy 3.0 for the years 2024-2029. This visionary policy
aims to revolutionize the AVGC-XR landscape by fostering innovation, generating
employment, and boosting exports. With initiatives like establishing Centers
of Excellence and innovation hubs, Karnataka seeks to create a collaborative
ecosystem conducive to skill development and research translation.

Notably, Karnataka’s commitment to the AVGC-XR sector is underpinned by

its robust infrastructure, a professional workforce, and a thriving educational
ecosystem. The state’s strategic initiatives, including the establishment of India’s
first AVGC-XR Centre of Excellence, position it as a prime investment destination
and a global leader in AVGC-XR innovation and talent development.

In Maharashtra, the AVGC sector is receiving a significant boost through incentives

like subsidies and favorable policies outlined in the 2023 Maharashtra IT-ITES
Policy. Similarly, Telangana has emerged as a pioneer with its dedicated AVGC
Policy (IMAGE Policy) and initiatives like the IMAGE CoE and upcoming IMAGE
Tower, aiming to establish the state as a hub for AVGC-XR startups and enterprises.

In a significant move aimed at propelling Kerala into the forefront of the Animation,
Visual Effects, Gaming, Comics, and Extended Reality (AVGC-XR) sector, the state
government has introduced a new AVGC-XR policy. With a vision to transform the
state’s creative landscape, the policy sets ambitious targets, including the creation
of 50,000 new jobs by 2029 and the establishment of 250 AVGC-XR companies.
Additionally, it aims to nurture 10,000 skilled professionals within the industry and
carve out a niche for Kerala by contributing at least 15% to the AVGC content
created in India.

As other states like Goa, West Bengal, and many more gear up to renew or draft
their AVGC-XR policies, the landscape of creative hubs in India is poised for further
expansion. With a collective focus on fostering innovation, driving employment, and
promoting inclusive growth, India’s AVGC-XR sector is set to redefine the global
INDORE entertainment and technology landscape in the years to come.

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 AVGC-XR HUBS
CREATIVE HUBS OF INDIA CREATIVE HUBS OF INDIA

Bangalore Pune focuses on increasing fiscal incentives for the

industry, promoting skill development, funding
apprenticeships, establish a dedicated fund for
promising AVGC startups, collaborate with higher

H
a Center of Excellence, providing electricity education institutions for specialized courses,

K
arnataka is the first in India to bring an ome to the Film and Television Institute subsidies, and supporting joint ventures. It aims and establish a dedicated skilling and job
AVGC policy in 2012, and it also became of India, Pune is a major hub for the to nurture local talent, encourage collaboration, placement center to ensure talented individuals
the first state to set up the first center of AVGC industry in India. The city hosts top and reduce the cost burden for AVGC units, while have opportunities in the AVGC sector. These
excellence in AVGC. The state accounts for 20 animation and VFX studios and AVGC learning aligning with other state policies and leveraging initiatives aim to foster the growth and expansion
per cent of the share of the Indian entertainment centres of the country. the state’s ecosystem for market access. of the AVGC sector in the state.
& AVGC industry with over 300 animation, VFX
and gaming studios operating in the state.
Bangalore has emerged as a major hub for the Chennai Delhi NCR Northeast India
industry in India.

C N O
hennai is home to the hugely successful ew Delhi houses most of the central ne of the focus areas of the Government
and productive Tamil film industry, ministries and regulatory authorities of India is to produce centres of
Hyderabad which has given Indian cinema some of pertaining to the sector, and the adjoining excellence in states to help the audio-
its biggest and most enduring stars over the cities of Gurgaon and Noida have several visual grow in the country. The Software
decades. This city is hub for a large number

H
advertising planning and creative agencies. Technology Park of India (STPI) has launched 12
yderabad has emerged as one of the of animation and VFX studios, and the state The state of Uttar Pradesh, where offices of Centers of Excellence (COE) in different states.
fastest growing centres for AVGC in India government is actively working on a AVGC policy major television companies are located in Noida Six of these Centers of Excellence are focused
with close to 150 companies working in to further boost the growth of the sector in Tamil Film City, has been working on development around the AVGC technology. The IMAGE COE
the VFX space and employing around 30,000 Nadu. of AVGC policy, and consultations are being in Hyderabad is directly connected to AVGC.
people. Telangana is building the world’s largest held in this regard. The state is also learning The COE in Bhubaneswar is about AR/VR
Innovation Campus spread across 24.3 lakh Tamil Nadu has been focusing on infrastructure
as a key enabler of AVGC sector’s growth in the from best practices of other states, particularly and immersive visualization. COE in Mohali is
square feet in 18 acres comprising the trio of the lighthouse ones, to come up with a holistic focused on computer vision, artificial intelligence
T-Hub, T-Works and the upcoming 1.6 million sq state. The state is in the process of developing
a Digital City type setup, to cater to the sector. framework for driving the growth of the sector in , and animation.
ft IMAGE (Innovation in Animation, Multimedia,
Besides this, there are various AVGC related the state. Three of the COEs are located in Northeast
Gaming and Entertainment) Tower.
companies operating in the state, and incentives India. The Shillong COE is focused on animation,
The IMAGE Center of Entrepreneurship is a are being provided to encourage startups Indore Imphal COE is focused on emerging technologies
flagship Centre of Entrepreneurship by STPI, working in the sector. Additionally, recognising and Mizoram is focused on gaming.

M
MeitY and Government of Telangana. The the benefits of skilling, the state is facilitating adhya Pradesh is actively focusing on
IMAGE CoE is an accelerator dedicated to industry-institution dialogue to promote skill Manipur has been taking steps to promote the
developing the capacity of the AVGC
AVGC startups and is a noteworthy example development in this sector. AVGC sector in the state. The state’s AVGC
sector by empowering higher education
of collaboration between Central Government, vision includes promoting popular local content
institutions and supporting startups. The state
State Government, Industry, Industry Bodies, and disseminating it on a national as well as
plans to provide financial and infrastructural
and Academia. global scale. The National AVGC Policy and
Mumbai assistance in several ways, such as establishing
incubation centers for AVGC startups, creating
Model State Policy will provide guidance in
Telangana is providing various incentives being scaling up the sector and leveraging the local

A
through the IMAGE Policy. These include but Special Economic Zones (SEZs) for AVGC
lso known as the entertainment city content coming out of the state.
are not limited to capital investment subsidy, companies, setting up skilling and job placement
of India, Mumbai is a hub for content
exemption to AVGC companies from statutory centers, facilitating access to microloans for
production for films and music. Majority
power cuts, encouragement to AVGC companies registered AVGC startups, and offering curated
of the top players of M&E sector are located in
to use renewable energy for operations, training programs in collaboration with private
Mumbai. Maharashtra, of which Mumbai is the
additional fiscal benefits for women and SC/ST sectors and industry experts. Additionally,
capital, is updating its IT/ITeS policy to meet the
entrepreneurs, among others. Madhya Pradesh aims to provide subsidies on
needs of the AVGC sector. The updated policy

54 India Film Guide | Animation & VFX Annecy | MIFA Market 2023 55

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 INDIAN COMPANIES AT CANNES FILM MARKET
FEDERATION OF INDIAN CHAMBERS OF COMMERCE &
MINISTRY OF INFORMATION & BROADCASTING INDUSTRY

SANJAY JAJU
Secretary H.E JAWED ASHRAF
Ministry of Information Ambassador of India to
and Broadcasting the Republic of France and
Government of India Principality of Monaco LEENA JAISANI PANKAJ SINGH
Deputy Secretary General Director

Ministry of Information & Broadcasting is the apex body for formulation and administration of the
rules and regulations and laws relating to information, broadcasting, the press and films. This Ministry
is responsible for international co-operation in the field of mass media, films and broadcasting and
interacts with its foreign counterparts on behalf of Government of India.
VIKAS KUMAR SARVANG MANSHA VIJ MANDEEP YADAV
Additional Director- Senior Assistant Director, Assistant Director

NATIONAL FILM DEVELOPMENT CORPORATION

(NFDC INDIA LTD)
SANCHIT TALWAR SUJIT SUBAL
Senior Assistant Director Executive Officer

RAM KUMAR VIJAYAN

PRITHUL KUMAR
AVP- Film Facilitation Office,
FICCI is managing the India Pavilion at Cannes under the aegis of the Ministry of Information &
MD, NFDC PANKAJ SAKSENA
Joint Secretary- Films, MoIB Artistic Director, IFFI
Invest India Broadcasting, Government of India. The objective of the India Pavilion is to promote Indian cinema
across linguistic, cultural and regional diversity, with the aim of forging an increasing number of
international partnerships in the realms of distribution, production, filming in India, script development
and technology, and promoting Indian films abroad.
BHAVESH PRATAP SINGH FICCI is the largest and oldest apex business organization in India. A not-for-profit organization, FICCI
VINEETA MISHRA
SHREERAG MUKUNDAN Head,
Deputy Manger
Film Preservation & Marketing
is the voice of India’s business and industry, encouraging debate, articulating the private sector’s views
OSD, Films, MoIB Programming Film Bazar and influencing policy. FICCI has been supporting the cause of the Indian entertainment industry,
including the film industry, for the past sixteen years. It has successfully facilitated several policy
milestones for the media and entertainment sector.
FICCI organises its annual flagship conference FICCI FRAMES -- Asia’s biggest global convention on
IRFAN FARAS NACHIKET SHIROLKAR Media and Entertainment in Mumbai.
Manager- Distribution & Consultant - International
Syndication Promotions & Special Projects

The National Film Development Corporation Ltd, a Public-Sector Enterprise under the Ministry of
Information & Broadcasting, was formed by the Government of India with the primary objective of
planning, promoting and organising an integrated and efficient development of the Indian film industry.
With more than 300 films in 21 Indian languages, many of which have earned wide acclaim and won
national and international awards, NFDC’s architecture aims towards creating domestic and global
appreciation of the cinemas of India.

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 HIGHLIGHTS FROM FICCI-EY REPORT 2024
S.No. Company Name Name Designation Email S.No. Company Name Name Designation Email
AIMEE BARUAH Actress, Film Director, Film CUSTARD APPLE Manjunath Nagoji Rao
1 Aimee BARUAH 16 Managing Director [email protected]
PRODUCTION SOCIETY Producer PICTURES PVT LTD GUJR
ALAP PARIKH
2 Alap PARIKH Artist and technologist DEEPTI CHAWLA
(INDEPENDENT) 17 Deepti CHAWLA Director - Producer [email protected]
(INDEPENDENT)
ALLIANCE MEDIA &
3 Sunil DOSHI CEO [email protected] DIBYA CHATTERJEE
ENTERTAINMENT PVT. LTD 18 Dibya CHATTERJEE writer director
(INDEPENDENT)
Mandeep Kaur SANDHU Proprietor
ALLIANCE PRODUCTIONS DIMENSION PICTURES dimensionpicturespvtltd@
4 Ramesh SHARMA Associate Producer 19 Liaquat Ali GOLA Owner
INDIA LLP PVT LTD gmail.com
Deepak TIJORI Managing Director
20 DRISHYAM FILMS Ritika BHATIA International Sales [email protected]
Sunir KHETERPAL Producer
Anuj TYAGI Director [email protected]
Shweta KHETERPAL Producer
21 ELEEANORA IMAGES Leena KHOBRAGADE Consultant [email protected]
5 ATHENA ENTERTAINMENT Varuna SAKSENA Producer
Shreerupa MITRA na
Girish KOHLI Director of Development [email protected]
Ajita NAIR Assistant to Partners 22 EMPIRE NETWORKS Kavi JUMANI Managing Partner [email protected]

Ankur SINGLA Writer - Director - Producer Mitul PATEL Writer - Director - Producer [email protected]
6 BARSAATI FILMS
Simran DHIR Producer 23 EVERCLEAR FILMS Neeraj VASUDEVA CEO - Producer - Actor [email protected]

BB ENTERTAINMENT Bobby SARMA BARUAH Film Director [email protected] Anuradha SACHDEV Producer
7
TRADE PRIVATE LIMITED Sulakhyana BARUAH Film Producer [email protected] Mustajabuddin MALIK Director [email protected]
24 FACES MEDIA HOUSE
BIGTREE ENTERTAINMENT Chief Operating Officer: ashish.saksena@ Sandeep KARTAR SINGH Actor [email protected]
8 Ashish SAKSENA
PRIVATE LIMITED Cinemas bookmyshow.com Senior Director & Head
Leena JAISANI [email protected]
Arfi LAMBA CEO - Producer [email protected] FEDERATION OF -Entertainment Division
BOMBAY BERLIN FILM INDIAN CHAMBERS OF
9 Karandeep Singh 25 Vikas Kumar SARVANG Deputy Director [email protected]
PRODUCTIONS, LLP. Creative Producer COMMERCE & INDUSTRY
GARCHA Pankaj SINGH Director [email protected]
(FICCI)
10 C.K ENTERTAINMENTS Kalyan CHILLARA Producer Sanchit TALWAR Senior Assistant Director
Anushka SHAH Founder [email protected] Ayush GUPTA Creative Producer [email protected]
11 CIVIC STUDIOS Creative and Business sharmila.ganguli@civicstudios.
Sharmila RAMANAN Tanvi AJINKYA Director - Producer
Development Lead com 26 FILM COMPANION
Akshay PARVATKAR Filmmaker [email protected]
12 CK ARTS Muchhal PALASH film director
Ambiecka PANDIT Filmmaker
Neetu SIKKA Executive Officer [email protected]
27 FLYING RIVER FILMS Rima DAS Producer - Director [email protected]
Samir KUMAR Director [email protected]
FUNDAMENTAL PICTURES
President, INDIAN MOTION 28 SHETTY Navin Managing Director [email protected]
CONFEDERATION OF Abhay Kumar SINHA [email protected] PVT. LTD
13 PICTURE PRODUCERS ASSO.
INDIAN INDUSTRY
GANESH PICTURES AND
Vice President, INDIAN MOTION 29 Ravi KOTTARAKARA Producer, Director [email protected]
Atulkumar LODLIYA [email protected] KOTTARAKARA FILMS
PICTURE PRODUCER ASS
GOLDEN GATE MOTION
Sagoon Bargava WAGH Producer 30 Vinod MALGEWAR Producer - CEO
PICTURES
14 CRISS CROSS CONTENT Ishaan CHANDHOK Producer [email protected]
GUBBARA dimpy@gubbaraentertainment.
31 Dimpy AGRAWAL Producer
15 CURRY WESTERN Kamal MUSALE Producer - Director ENTERTAINMENT PVT. LTD. com

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 HIGHLIGHTS FROM FICCI-EY REPORT 2024
S.No. Company Name Name Designation Email S.No. Company Name Name Designation Email
Ananthakumar RENGASAMY Producer Sheo Balak SINGH PRODUCER [email protected]
32 GURU FILMS PVT LTD
Sadhana RAJU Producer Sunil Kumar JAIN Managing Director PRODUCER [email protected]
Janardan Verma IMPPA-INDIAN MOTION
HARIKRIT FILMS Writer - Producer [email protected] Alok Kumar THAKUR CEO - Producer [email protected]
33 Manisha BAJAJ PICTURE PRODUCERS
HARIKRIT FILMS Antil TARSEM Director - Producer [email protected] ASSOCIATION Khushboo SINGH CO PRODUCER [email protected]

HUNDRED FILMS & Atul PANDEY Producer Aditya SINHA PRODUCER

34
ENTERTAINMENT PVT LTD Prateek TANDON Producer
IN ENTERTAINMENT INDIA Executive Assistant to
Ashwani Kumar SHARMA Director [email protected] 37 Fatima CHIHANI
LIMITED Prakash P. HInduja
35 IMPACT FILMS
Jyoti SHARMA Acquisitions Manager [email protected] 38 INDO OVERSEAS FILMS Firoz ELIAS Director [email protected]
Rajkumar PANDEY Writer - Director - Producer [email protected] Shyam KRISHNAN shyam.kurup@marinebiztv.
Director
Sandeep KATHAK Director - Producer [email protected] KURUP com
INDYWOOD DISTRIBUTION Sayan GANGULY music director
Kunal Deepak ROHRA executive producer [email protected] 39
NETWORK
Ashok Kumar SHARMA Producer [email protected] Indira MUKHERJEE Writer - Director
Asit Kumar GHOSH Producer [email protected] Priti AGARWAL producer
Vice President, INDIAN MOTION INNOVATIVE FILM
Atulkumar LODLIYA [email protected] 40 Saravana PRASAD Chairman
PICTURE PRODUCER ASS ACADEMY
Avtar SINGH Production Coordinator [email protected] INSTITUT FRANÇAIS
41 Juliette GRANDMONT Attachée audiovisuel
(INDE)
Eknoorjit SINGH Marketing Manager [email protected]
Manoj NANDWANA Sales [email protected]
stripesentertainmentllp@
Prakash Kumar SAINI Writer - Director JAI VIRATRA Rahul KABALI Writer - Director - Producer
gmail.com 42
ENTERTAINMENT LIMITED
Produce and EC Member Soundar Murugan
Harsukh DHADUK [email protected] ACTOR & PRODUCER
of IMPPA JAGADISH
IMPPA-INDIAN MOTION
36 PICTURE PRODUCERS Ghanshyambhai Producer and EC Member talaviyaghanshyam@gmail. JOHN EDATHATTIL
43 John EDATHATTIL Screenwriter
ASSOCIATION TALAVIYA IMPPA com (INDEPENDENT)
birender.bhagat.80@gmail. 44 JRD FILMS Rakesh JAIN CEO [email protected]
Birender BHAGAT PRODUCER
com JUGAAD MOTION pranit@jugaadmotionpictures.
45 Pranit SAHNI Producer
Deepa BHAGAT CO PRODUCER [email protected] PICTURES com
Ashvin BORAD EXECUTIVE PRODUCER [email protected] KATHPUTLEE ARTS AND
46 Sharad MITTAL PRODUCER [email protected]
FILMS PRIVATE LIMITED
Kamal Kant CHANDRA DIRECTOR [email protected]
KAVITA GANDHI
Mamta NAGPAL CO PRODUCER [email protected] 47 Kavita GANDHI Founder [email protected]
(INDEPENDENT)
Sanjay NAGPAL PRODUCER [email protected] Shobana Beena
48 KT-ACED Producer
Ravi Ranganathan UNNIKRISHNAN
CO PRODUCER [email protected]
NARAYANASWAMY KUBERANS TECH VENTURES jeetwagh@
49 Jeet WAGH Producer
Raghav NAYYAR Artist [email protected] PRIVATE LIMITED kuberanstechventures.com
Neeta Milind RAMEKAR PRODUCER [email protected] Bhuvan LALL Writer - Director - Producer [email protected]
50 LALL ENTERTAINMENT
Anjana SINGH PRODUCER [email protected] Mukesh BATRA Chairman

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 HIGHLIGHTS FROM FICCI-EY REPORT 2024
S.No. Company Name Name Designation Email S.No. Company Name Name Designation Email
Lead Content Acquisition Head of International
Anuj GURNANI Sonal MATHUR [email protected]
and Programming Promotions
51 LIONSGATE PLAY
Sr. Manager Content Ramkumar VIJAYAN Assistant Vice President [email protected]
Ankit CHOWKSEY
Acquisitions
Consultant, International
Nachiket SHIROLKAR [email protected]
Ashok RANE Coordinator [email protected] Promotions and Special P
NATIONAL FILM
24framesentertainment@ Deputy Manager,
MANOJ Kadam Coordinator DEVELOPMENT
gmail.com 62 Bhavesh Pratap SINGH Preservation and Marketing,
CORPORATION / NFDC
NFDC -
MAHARASHTRA FILM, Manoj SHINDE Filmmaker INDIA (LTD)
STAGE & CULTURAL Deputy Manager,
52 Shashi KHANDARE Filmmaker Mohammed Irfan FARAS
DEVELOPMENT Distribution
CORPORATION LTD Shrikant BHIDE Filmmaker
Pankaj SAKSENA Artistic Director, IFFI
Mangesh RAUL Cultural Cordinator
Head - Programming, Film
Vijay BHALERAO Studio Manager Vineeta Shyam MISHRA [email protected]
Bazaar
Swati MHASE Managing Director Shreyans HIRAWAT Director [email protected]
63 NH STUDIOZ
Creative Producer-Film Sabina KRIPALANI syndication [email protected]
53 MALPANI TALKIES Sanjib DEY [email protected]
Director
NILA MADHAB PANDA
MAMI MUMBAI FILM Head of International 64 Nila Madhab PANDA Writer - Director - Producer
54 Anu RANGACHAR (INDEPENDENT)
FESTIVAL Programming
Aakanksh SHETTY Line Producer
Murali Manohar
MEDIAONE GOBAL producer 65 NUBE STUDIO Aryan SHETTY Line Producer
55 JAYABALAN
ENTERTAINMENT LIMITED SHETTY Samitha Managing Partner [email protected]
Jayakumar JAYABALAN Producer
MEDIASMITHS IMAGE Prakash P. HINDUJA Managing Director
56 Sanjay RAM Co-Founder 66 NXT DIGITAL LTD
CONSULTANTS PVT LTD Kamal HINDUJA Wife of Mr. P P Hinduja [email protected]
harshad@mercuryintegrated. Arya MENON [email protected]
57 MERCURY INTEGRATED Harshad BHAGWAT Director
com
67 ODD & EVEN PICTURES Priyaank SHARMA Associate Producer
58 METRO PICTURES Amit JUMANI Director [email protected]
Shubham KARNA Producer
Latha MENON Director
59 MINDSCREEN CINEMAS 68 OFFBEET MEDIA GROUP Jaideep SINGH Founder CEO and Producer [email protected]
Rajiv Krishna MENON Director - Cinematographer
69 ORANGE CORP Debasish DUTTA CEO & Managing Partner [email protected]
MULTIVISION MULTIMEDIA
60 Sunil UDHANI Country Head [email protected] Upamanyu
INDIA PVT LTD 70 OTTER STUDIOS Director
BHATTACHARYYA
Bhasker
Writer - Director Natarajan VIDYASAGAR Editor [email protected]
VISHWANATHAN
MYRAH FILMS INDIA
61 71 PICKLE MEDIA PVT LTD B Rajalakshmi COO
PVT. LTD Anshuman SHEKHAR Director, Content
Maitreyi Vidyasagar Digital editor
Manish KUMAR Producer
avinaash@pictureworksindia.
Avinaash JUMANI Film Acquisitions and Sales
72 PICTUREWORKS com
Suvidhi RUIA International Acquisitions
73 POPCORN FLICKS Amit Kumar AGARWAL COO [email protected]

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 HIGHLIGHTS FROM FICCI-EY REPORT 2024
S.No. Company Name Name Designation Email S.No. Company Name Name Designation Email
PUNE INTERNATIONAL TEN YEARS YOUNGER
74 Aditi AKKALKOTKAR Deputy Director [email protected] 92 Jahanara BHARGAVA Producer
FILM FESTIVAL PRODUCTIONS LLP
Sanjeev KUMAR Joint Managing Director [email protected] sarthak.dasgupta@thesaltinc.
Sarthak DASGUPTA CCO
93 THE SALT INC. com
kamal.gianchandani@
Kamal GIANCHANDANI President
pvrpictures.com Parth ARORA Producer
PVR PICTURES / PVR
75
LIMITED Deepak SHARMA COO THOMAS ABRAHAM
94 Thomas ABRAHAM Costume Designer
(INDEPENDENT)
Nayana BIJLI Manager
Josekutty MADATHIL Producer
Aamer BIJLI MANAGER MARKETING
95 TINY HANDS PRODUCTION Nathaniel MADATHIL Actor
76 R H ENTERTAINMENT Raghavendra HEGDE Filmmaker
Seerkatchi BHASKARAN Festival Coordinator
Simarjeet KAUR film producer
77 R VISION INDIA PVT LTD 96 TRAINTRIPPER FILMS Chippy BABU Executive Producer
Ravindra SINGH Film producer
Jasvinder SALUJA Film Editor
78 RAAPCHIK FILMS Myra KARN Producer
Vinod Hajarilal
RAKESH JAIN Film Producer
79 Rakesh JAIN CEO BACHCHAN
(INDEPENDENT)
Executive Producer /Impact
RATNADEEP LAL Fashion Celeberiry and Priya SAMANT
80 Ratnadeep LAL Advisor /Actor
(INDEPENDENT) chairman IIFT
97 TRUPTI BHOIR FILMS
Sandesh SHARDA Producer
81 ROY KAPUR FILMS Malvika KHATRI Co-Producer [email protected]
Actor/ Producer / Writer /
82 RUNAWAY PRODUCTIONS Sailesh DAVE CEO Trupti BHOIR
Director
SAIKRISHNA & Monica DATTA Partner
83 Taaha Shah BADUSHA Producer
ASSOCIATES Dhanashree ANIRUDDHA Partner
Deepak KUMAR Producer
84 SEYON-DI Kathiravan MURUGAN Managing Director
VAISHNAVE MEDIAA
SHEMAROO CONTENTINO 98 Kutty PADHMINI Managing Director [email protected]
85 Murtuza KAGALWALA Managing Partner [email protected] WORKS LIMITED
MEDIA LLP
VIATOR BROS MOTION
SIJO JOSEPH 99 Francis KANNOOKADAN CEO - Producer
86 Sijo JOSEPH Visual Effects Manager PICTURES
(INDEPENDENT)
VISWANATH CINEMA CURATOR /
Jiten HEMDEV CEO [email protected] Viswanath
100 SUBRAHMANYAN FESTIVAL PROGRAMMER /
STAR ENTERTAINMENT SUBRAHMANYAN
87 Head Of Business kimaya@starentertainment. (INDEPENDENT) CREATIVE AD
P LTD Kimaya HEMDEV
Development co.in VR FILMS & STUDIOS Manish DUTT Managing Director [email protected]
101
88 SUITABLE PICTURES Alan MCALEX Producer LIMITED / VISUAL REALITY Krishi DUTT Jt. Managing Director [email protected]
Madhu SHARMA WINGS TO BOLLYWOOD Brijjesh Gurnani wingstobollywood007@
89 SUMMIT STUDIOS LLP 102 Director
Gabrijela NIKOLIC Owner ENTERTAINMENT GURNANI gmail.com

SUNSTONE YELLOWLIFAFA STUDIOS Sizil SRIVASTAVA Co-Founder and Director

90 Sanjay JUMANI Buyer - Seller [email protected] 103
ENTERTAINMENT PRIVATE LIMITED Romil SRIVASTAVA Co-Founder and Producer
91 SUPERFINE FILMS Kamal JAIN Founder - CEO [email protected] 104 YES BE CREATIVE Sajan BALAN Writer - Director - Producer [email protected]

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 CANNES MARKET SCREENINGS

MINISTRY OF ­INFORMATION & BROADCASTING

Sr. No Film Name English title Language Director Name Summary Theatre/Date/Time
About the Film: This film is inspired by a rural folklore from central India, centred around
a concept known as “Maya” or “the buried treasure.” The film explores the lives of two
Olympia 9 15-05-2024
1 Baasan The Vessel Hindi Jitank Singh gurjar cousins and the choices they make, highlighting the conflict between greed and need, as
9:00 AM
well as the themes of prophecy and destiny. The film won the best independent feature film
award at Cannes World Film Festival (An independent festival) in 2023.
About the filmmaker: Shiladitya Bora is an Indian film producer, director, marketer and
distributor. He is the founder of Platoon One Films, a Mumbai-based film production studio.
He was also one of the recruiters at the 75 CMOT Talent Camp. He has been a part of
Ab Toh Sab Bhagwan the Berlinale Talents with films like Masaan(Cannes), Newton (Oscars 2018). This is his Olympia 3 16-05-2024
2 For Heaven's Sake Hindi Shiladitya Bora
Bharose directorial debut. 9:00 AM
About the Film: A co-production between Platoon One Films, Drishyam Films, Pay Tama-
sha, Lighthouse Innoventures, UA Kathachitra, the film is a walloping & visually immersive
tale of an eight-year-old’s journey through faith, self-discovery and redemption.
Concept: A sci-fi fantasy film. Tamar, a native of Sangi-Gai village, finds an exotic chest
while searching for his lost brother, which expatriates him. The year is 1905 and we see
a team of Chinese soldiers infiltrate the tribal lands of Arunachal to retrieve a mysterious
Tibetan chest, only to get brutally hunted by tribesmen from the village of Sangi-gai. Howev- Arcades 3 19-05-2024
3 Sangi Gai None Nyishi Nyago Ete
er, one lone soldier escapes, inadvertently opens the box, and upon touching a golden orb 9:00 AM
inside it, gets pulled into a portal.
About the filmmaker: He participated in Cannes 2023 as part of the official delegation
from North East, an Arunachali filmmaker, has been active since 2017.
About the film: The story that unfolds in a mountain village very close to the capital town,
showcasing a constant tug between progressive ideas and traditional faith. It revolves
around Tara reflecting the dilemma of firmly rooted belief system that has transpired
Palais I 20-05-2024
4 Tara. The lost star Tara. The lost star Nepali Samten Bhutia from generations and the aspiration of a young Tara who finds herself entrapped in this
12:00 PM
suffocating situation.
About the filmmaker: Mr. Bhutia was a member of the Northeastern delegation that
visited Cannes in 2023.
About the Film: Set in contemporary India - Return of the Jungle (ROTJ) is the story of a
group of classmates from junior school. For Mihir, Rohan, Sweety, Ali and friends, simple
challenges of everyday school life seem like huge problems. To their rescue comes their
close buddy Thatha -a loveable grandpa- who peps them up with his highly inspiring stories
from the jungle! These stories encourage the children to face their little battles and give it
their best! Palais I 20-05-2024
5 Return of the Jungle Return of the Jungle Hindi Vaibhav Kumaresh
About the filmmaker: Vaibhav Kumaresh is an International Emmy nominated animation 4:00 PM
film maker and Founder, Creative Director at Vaibhav Studios, Mumbai. Vaibhav studied
animation film making at the National Institute of Design, Ahmedabad. He is an active
committee member and the Honorary Secretary of The Animation Society of India (TASI).
Vaibhav also teaches animation and is a visiting faculty at various animation and design
schools across India.

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 NFDC FILM BAZAAR 2023 SUCCESS STORIES LOOKING FOR CO-PRODUCTION AND DISTRIBUTION PARTNERS

T T
wo brothers who live in a village run a band ara and Akash’s love story defies norms, reaching
baaja (wedding band) business that has been beyond the ordinary into the extraordinary. It
passed on to them from their great-great- originates in Mumbai, where Tara, a radiant
grandfather. Their lives were in complete sync and soul, secures a dream photography assignment in
Switzerland, hidden from her overbearing parents.
harmony until the two of them had a loud clash one
day. One of the brothers left the village in silence Simultaneously, Akash, an enigmatic figure, awakens
but returned a few weeks later with a bang. He had in a Swiss park, unaware of his true identity. Their
brought back to his village a DJ (a mobile music unexpected encounter leads to friendship, but Tara
system with huge speakers). Now, he didn’t need soon discovers Akash is an astral being. In their love
band members in uniform, their instruments, or story, a mysterious novel guides them on a quest that
BHAI BAND unveils secrets and a higher purpose, transcending the TARA & AKASH - LOVE BEYOND REALMS
their rehearsals. It was a one-man show for him;
boundaries of their worlds.
he could put up his feet and, with just a click on his
phone, make a playlist that would do all the work. This was something absolutely new for the village Hindi | Producers : Jitesh Thakur, Whispers from Eternity LLP | Director : Srinivas Abrol
folks; it fascinated the younger folks instantly and in some cases, the old-timers ended up declaring
it as trending too. The other brother’s band had run its course but he wasn’t one to give up. He would

B
have to level up his game. But if he won’t bring in a DJ, then this time around in the age- old duel, aghuni - Dance Like a Tiger is a story of innocence, resistance,
how will skill keep up with technology? perseverance and breaking the boundaries of conservative societal
belief systems. The protagonist- Mini’s family celebrates her coming
Gujarati | Producers : Manish Saini, Ahmadavad Films | Director : Manish Saini of age as she attains puberty at the age of 12, but she feels confined by
traditional boundaries. She is more fascinated by popular Bollywood-style
dance than the traditional dance of her family, called Bagha Nacha; the
Tiger Dance. Her elder brother Bulu is a talented Bagha Nacha dancer and
intends to earn a living through this art form. But a road accident renders
him bedridden, crashing all hopes of a better future for the family. Mini

K
irti spends a fortune to build a collection for a handloom innocently decides to take up her brother’s path and help her family. Despite
museum. His wife, Sonal, thinks they should instead her initial apathy, Mini begins to understand and appreciate the cultural
enter the powerloom business to secure their family’s depth of this dance form and slowly gets immersed in it. However, she
faces resistance from her family and society, as this tiger dance traditionally
future. They must choose between moving forward or giving
can’t be performed by girls. But Mini remains undeterred in her pursuit and BAGHUNI
in to nostalgia when they encounter a tapestry that illustrates perseveres. Can she realize her dream and break the boundaries of old-age
their entire family history. Raw 2D animation and traditional DANCE LIKE TIGER
tradition amidst family tension and societal resistance?
fabrics brought to life with stop-motion embroidery and
patchwork depict their lifelong conflict. Odia | Producers : Jitendra Misra, Cinema4good Pvt. Ltd | Director - Jitendra Misra

Gujarati, Hindi

L
Producers : Arya Menon, Odd & even Pictures ioness, is the tale of two British Indian women living in the United
HEIRLOOM Director : Upamanyu Bhattacharya Kingdom a century apart. The first woman is Princess Sophia Duleep
Singh, the youngest granddaughter of Maharaja Ranjit Singh, and
the god-daughter of Queen Victoria, whose story was lost in history. The
second woman is Simranjit Kaur, an ordinary married immigrant in Southall
employed at a prominent auction house. Starring Aditi Rao Hydary and

I
n the sleepy hamlet of Vaghachipani, an under-aged shepherdess Paige Sandhu in lead roles, the film charts the trajectory of women’s suffrage
in the UK, beginning with Princess Sophia Duleep Singh’s pivotal role and
is discovered to be pregnant. Her employer, who is hellbent on
extending to the exploration of women’s emancipation in the modern era
becoming the chairman of the village council, is making every through the fictional character, Simranjit.
effort to cover it up, resulting in more cover-ups threatening to be
exposed. Mentally deficient, the young shepherdess has no idea what VAGHACHIPANI In Simranjit’s quest to learn more about Sophia, she is exposed to a world
pregnancy is. she had never heard of and gets to meet some revolutionary women of
the 1900s and in 1993. Paralleling between two different eras, “Lioness”
Kannada narrates tales of resistance, the strength of female bonds, political activism,
LIONESS and protests.
Producer : Rishab Shetty Studio
Director : Natesh Hegde English, Hindi | Producer : Kajri Babbar, Babbar Movies LLP | Director : Kajri Babbar

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 CANNES MARKET SCREENINGS

FILMS INDIAN FILMS FOR

SALES AND SYNDICATION AT THE FRIDAY MAY 17, 2024 FRIDAY MAY 17, 2024
CANNES FILM MARKET ATTEMPT ONE
2024,India,92 min
AVNI’S FATE
AVNI KI KISMAT
Director(s) Vishwanathan BHASKAR
2023,India,112 min

INDIAN FILMS AT CANNES FILM MARKET SCREENINGS PALAIS F 15:30 hrs Director(s) Barretto SHONET

OLYMPIA 4 18:00 hrs

SATURDAY MAY 18, 2024
TUESDAY MAY 14, 2024 WEDNESDAY MAY 15, 2024 PALAIS #F ONLINE 15:30 hrs SATURDAY MAY 18, 2024
ATHE GOATLIFE ATALE OF RISING RANI OLYMPIA #4 ONLINE 18:00 hrs
2021,India,140 min,
AADUJEEVITHAM Director(s) Prakash SAINI
2024,India,142 min
PALAIS G 18:00 hrs
FRIDAY MAY 17, 2024 SATURDAY MAY 18, 2024
PALAIS B 17:30 hrs DOLL SUNO TOH
2024,India,110 min
PUTUL
THE SHAMELESS 2021,India,110 min
Director(s) Sandeep KATHAK

In the dead of night, Renuka escapes from a Delhi Director(s) Mukherjee INDIRA PALAIS B 09:00 hrs
brothel after stabbing a policeman to death. She takes
refuge in a community of sex workers in northern India, PALAIS G 18:00 hrs SUNDAY MAY 19, 2024
where she meets Devika, a young girl condemned to a PALAIS #B ONLINE 09:00 hrs
life of prostitution. Their bond develops into a forbidden SATURDAY MAY 18, 2024
romance. Together, they embark on a perilous journey PALAIS #G ONLINE 18:00 hrs
to escape the law and forge their path to freedom.

Director: Konstantin BOJANOV

2024,Drama,LGBT,Hindi,115 min BHERA
THURSDAY MAY 16, 2024 SUNDAY MAY 19, 2024 MONDAY MAY 20, 2024 THE DEAF
‘Bhera (THE DEAF)’ unfolds amidst the Covid-19
OLYMPIA 4 09:30 hrs OLYMPIA 7 17:30 hrs OLYMPIA #7 ONLINE 17:30 hrs
pandemic in June 2020, in a secluded village in
Lower Konkan. Anibai, living alone, anxiously awaits
her son, Suresh, stranded in Mumbai. Afflicted with
GYPSY appendicitis, her sole connection to the outside world
Director: Shashi KHANDARE is Vishnu, a deaf-mute orphan yearning for affection
2023, Art - Culture, Social issues, Children’s, India, Marathi, 105 min and freedom from his oppressive household.

Director: Shrikant PRABHAKAR

THURSDAY MAY 16, 2024 2023,Drama,India,Marathi,134 min
PALAIS B 17:30 hrs
FRIDAY MAY 17, 2024 SATURDAY MAY 18, 2024 SUNDAY MAY 19, 2024
PALAIS #B ONLINE 17:30 hrs PALAIS B 17:30 hrs PALAIS #B ONLINE 17:30 hrs
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 CANNES MARKET SCREENINGS
For complete list of films visit www.cinando.com
SATURDAY MAY 18, 2024 SUNDAY MAY 19, 2024
HAMARE BAARAH SISTER MIDNIGHT
2024,India,148 min Director(s) Kandhari KARAN
Director(s) Kamal CHANDRA
THEATRE CROISETTE 11:45 hrs, 20:45 hrs NOCTURNES
PALAIS H 20:00 hrs Director: Anupama SRINIVASAN, Anirban DUTTA
2024,Documentary,India,USA,84 min
SUNDAY MAY 19, 2024
PALAIS #H ONLINE 20:00 hrs MONDAY MAY 20, 2024
OLYMPIA 3 15:30 hrs

VALLI
Every night Valli is sought after for his blessings as a
jogta—presenting as a woman devotee bound to a Hindu
goddess. Though he is spiritually revered, he is also MONDAY MAY 20, 2024 TUESDAY MAY 21, 2024
ostracized by the villagers and routinely subject to their
harassment and violence. Stifled by his life of servitude,
KANNAPPA BOONDI RAITA
he wishes to renounce his Jogta identity and live as a 2024,India,110 min 2024,India,110 min
man. To do so, he enlists the help of his only friend and OLYMPIA 2 18:00 hrs Director(s) Kamal CHANDRA
fellow castaway, Tara.
PALAIS H 17:30 hrs
Director: Manoj SHINDE
WEDNESDAY MAY 22, 2024
2023,Drama,India,Marathi,143 min
PALAIS #H ONLINE 17:30 hrs
SUNDAY MAY 19, 2024 MONDAY MAY 20, 2024
PALAIS D 17:30 hrs PALAIS #D ONLINE 17:30 hrs

THE KILLER IN US
BAYAMARIYAA BRAMMAI
Director: Rahul KABALI
India,Tamil,98 min

MONDAY MAY 20, 2024 KOOKI VADAKKAN

PALAIS E 14:00 hrs Director: Pranab J Deka PRANAB Director: A SAJEED

TUESDAY MAY 21, 2024 2023,India,Hindi,110 min 2024,Horror,Thriller,India,108 min

PALAIS #E ONLINE 14:00 hrs TUESDAY MAY 21, 2024 WEDNESDAY MAY 22, 2024 TUESDAY MAY 21, 2024
PALAIS H 11:30 hrs PALAIS #H ONLINE 11:30 hrs OLYMPIA 3 20:00 hrs

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CO-PRODUCTION MARKET (FEATURE) CO-PRODUCTION MARKET (DOCUMENTARY)

1. A Love Supreme directed by Dev Benegal. Produced by mind(d) studio, India 1. Becoming directed by Vineeth Menon. Produced by White Horse Films, United Kingdom,
2. Aath (The Eight) directed by Nachiket Waikar. Produced by NaMa Productions, OneShot South Korea, India, United States
Films, India 2. Choti Katwa aur Uttar Bharat ke Anya Adhunik Mith (The Braid Chopper and Other
3. Baghuni - Dance like a Tiger directed by Jitendra Mishra. Produced by Cinema4Good Pvt. Modern Myths) directed by Apoorva Jaiswal & Manas Krishna. Produced by Raging Films,
Ltd., Glocal Films UK Limited, India, United Kingdom India
4. Bhai Band (One Two Three... Mic Check) directed by Manish Saini. Produced by Amdavad 3. Downhill Kargil directed by Nupur Agrawal. Produced by AutumnWolves Media LLP, India
Films Pvt. Ltd., India 4. Fair-Home Fairy-Tales directed by Sourav Sarangi. Produced by Filament Pictures, India
5. Bhopal Boys directed by Ajitesh Sharma. Produced by Awedacious Originals, India 5. Finding Lanka directed by Nilamadhab Panda & Vimukthi Jayasundara. Produced by
6. Eunuch (Kohinoor) directed by Udita Bhargava. Produced by Schiwago Films, Luxembourg, Eleeanora Images Private Limited, India, Sri Lanka
Germany 6. Habaspuri Weaving : The Second and Last Death??? directed by Mayur Mahapatra.
7. Fashigate directed by Phulawa Khamkar. Produced by Golden Lily Entertainment, India Produced by BNR FILMS LLP, India
8. Heirloom directed by Upamanyu Bhattacharyya. Produced by Odd & Even Pictures, India, 7. Raga Rock - The Jazz Odyssey of Braz Gonsalves directed by Nalini Elvino de Sousa.
France Produced by Lotus Film & TV Production, Germany, India, Portugal
9. I’ll Smile in September directed by Aakash Chhabra. Produced by Crawling Angel Films & 8. The Unlikely Hero directed by Ishani Roy. Produced by Indie Film Collective Pvt Ltd, India
Akanga Film Asia, India, Singapore 9. The Village Girl Who Ran directed by Deyali Mukherjee. Produced by SRDM Productions,
10. In Law directed by Dar Gai. Produced by Jugaad Motion Pictures, India India, Japan, Russia
11. Kaalakoota (Toxic Nectar) directed by Abhaya Simha. Produced by Innostorm 10. Tokora Sorai’r Baah (A Weaver Bird’s Nest) directed by Alvina Joshi & Rahul Rabha.
Entertainment Group, India Produced by Moped Films, India
12. Khekshiyal (The Jackal) directed by Golam Muntakim Fahim. Produced by mypixelstory, 11. Who Am I directed by Sasi Kumar. Produced by 9 Frames, India
Bangladesh 12. Women of Fire directed by Anushka Meenakshi & Richa C Bhavana. Produced by
13. Lost And Found directed by Gitanjali Rao. Produced by Good Bad Films, India Bandobast films, India
14. Mog Asundi (Let There be Love) directed by Bhaskar Hazarika. Produced by SMR
Entertainment, India, United States
15. Mouna Tharangam (A Silent Wave) directed by Sachin Dheeraj Mudigonda. Produced by WORK-IN-PROGRESS LAB (FEATURES)
Paruchuri Vijaya Praveena Arts, Kinostreet, USA, India
16. Rabbit Hole directed by Ilango Ramanathan. Produced by Silent Frames Productions (Pvt) 1. Anu directed by Pulkit Arora. Produced by Rachel Fawcett (Short)
Ltd., Sri Lanka 2. Giddh (The Scavenger) directed by Manish Saini. Produced by Radhika Lavu (Short)
17. Raju directed by Dror Sabo. Produced by MY TV Productions, Israel 3. Gopi directed by Nishanth Gurumurthy. Produced by Nishanth Gurumurthy (Short)
18. Raya’s Wedding directed by Maksud Hossain. Produced by Fusion Pictures, Bangladesh 4. Iron Women of Manipur directed by Haobam Paban Kumar. Produced by Films Division-
19. The Distant Near directed by Rafael Kapelinski. Produced by Bombay Berlin Film NFDC (Feature)
Production, Germany, India, France, Poland, United Kingdom 5. Ladakh 470 directed by Shivam Singh Rajput. Produced by Roopa Barua (Mid-Length)
20. The Priest and the Prostitute directed by Arunaraje Patil. Produced by Gaahimedia, India 6. Return of the Jungle directed by Vaibhav Kumaresh. Produced by Vaibhav Kumaresh
(Feature)

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7. Roti Koon Banasi (Who will bake the bread) directed by Chandan Singh Shekhawat.
Produced by Chandan Singh Shekhawat (Short)
8. The Exile directed by Samman Roy. Produced by Samman Roy, Abhijit Baruah (Feature)
9. Tuesday’s Women directed by Imaad Shah. Produced by Imaad Shah (Short)
NOTES
10. Where My Grandma Lives directed by Tasmiah Afrin Mou. Produced by Tasmiah Afrin Mou
(Mid-Length)

WORK-IN-PROGRESS LAB (FEATURES)

1. Dammam (Rhythm of Dammam) directed by Jayan Cherian , India, USA

2. Putul Nacher Itikatha (A Puppet’s Tale) directed by Suman Mukhopadhyay , India
3. Rehearsal for a Funeral directed by Grant Alan Davis , India
4. The Gift directed by Lakshmipriya Devi , India
5. Vaghachipani (Tiger’s Pond) directed by Natesh Hegde , India

WORK-IN-PROGRESS LAB (NON-FEATURES)

1. Ammraa (We Are) directed by Mrinmoy Mondal, India

2. Lasya - The Documentary directed by Shweta Bajaj, India, Thailand
3. Safarnama (The Invisible Wayfarers) directed by Partha Das, India
4. Waste Side Story directed by Supriyo Sen, India
5. Where do we go from here directed by Geetanjali Gurlhosur, India

SCREENWRITERS’ LAB

1. Absent written by Rohan K. Mehta

2. Boomerang written by Avinash Arun Dhaware
3. Chab (Refuge) written by Diwa Shah
4. Chhawni (Cantt) written by Neha Negi
5. Daant (Bite) written by Vatsala Patel
6. Kosla (The Cocoon) written by Sanju Kadu
7. ramana Patra (Certificate) written by Biswa Ranjan Pradhan
8. Qissa - e - circus (A ballad of the circus) written by Savita Singh

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 CONNECTING WITH THE INDUSTRY

ASSOCIATIONS &
INDUSTRY BODIES
Film Federation
[email protected]
of India

Producers Guild of
[email protected]
India

The South Indian Film

[email protected]
Chamber of Commerce

IMPAA

Federation of
Indian Chambers
[email protected]
of Commerce and
Industry

Confederation of
[email protected]
Indian Industry

Service Exports
[email protected]
Promotion Council

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 Contacts
F31
Imperial Palace
Annecy Ministry of Information and Broadcasting
Government of India
Room No.107, A Wing, Shastri Bhavan
Dr. Rajendra Prasad Road
New Delhi - 110 001 India
www.mib.gov.in

National Film Development Corporation Ltd

NFDC-FD Complex
24, Dr Gopalrao Deshmukh Marg
Mumbai 400 026.

National Film Development Corporation Ltd

Room no 401 , 4th Floor Soochna Bhawan
Near CGO Complex
Lodhi Road, New Delhi - 110 003

Film Facilitation Office

Invest India, Vigyan Bhawan,
3 Maulana Azad Road,
New Delhi 110011
Email : [email protected]
www.ffo.gov.in