Renowned Kavi Artist Sagar Naik Mule received a surprising and exciting call from “The Peacock” team of the Entertainment Society of Goa to contribute to the International Film Festival of India 2025. Entrusted with the creation of the farewell page, Sagar embraced the opportunity to reflect the festival’s spirit through a unique artistic lens.
The farewell work celebrates the cycle of nature, symbolizing how every year brings new ideas and inspirations to IFFI Goa. Using the technique of PoP, Sagar captured impressions of leaves through a self-portrait on a peacock, symbolically expressing gratitude to everyone who made IFFI 2025 a grand success.
The message of thanks, “Dev Bore Koru” in Konkani, resonates throughout the artwork, combining elegance, creativity, and heartfelt acknowledgment.
With trust and encouragement from Vivek Menezes, Sagar’s farewell page became a memorable tribute to the festival’s vibrancy, creativity, and community spirit, leaving a lasting impression on attendees and contributors alike.
The 56th International Film Festival of India (IFFI) came to a vibrant close at the Dr. Syama Prasad Mukherjee Indoor Stadium in Goa, bringing together global filmmakers, artists, and cinephiles for a grand celebration of cinematic artistry. Over nine days, audiences were immersed in powerful stories, thought-provoking narratives, and diverse cultural showcases that lit up screens across the state, making this edition of the festival a memorable tribute to the magic of cinema.
One of the most anticipated moments of the evening was the announcement of the Golden Peacock winner, awarded this year to the Vietnamese film Skin of Youth, written and directed by Ashleigh Mayfair. The jury praised the film for its bold and stylish storytelling, compelling message, and the seamless harmony of its narration, music, and editing. The film was celebrated for its capacity to humanize and illuminate voices seldom heard, promising to linger long in the minds of its viewers.
Among the major honours, Marathi filmmaker Santosh Davakhar received the Silver Peacock for Best Director for Gondhal, a film the jury described as a Shakespearean fable grounded in cultural richness and emotional depth. Ubeimar Rios won the Silver Peacock for Best Male Actor for his powerful performance in the Spanish film A Poet, while Jara Sofija Ostan earned the Silver Peacock for Best Female Actor for her nuanced and expressive portrayal in the Slovenian film Little Trouble Girls. The festival also recognized the exceptional talent of emerging filmmakers, with Iranian filmmaker Hesam Farahmand and Estonian filmmaker Tõnis Pill jointly receiving the Best Debut Director Award for their films My Daughter’s Hair (Raha) and Fränk respectively.
The closing ceremony also shone a spotlight on Indian cinema legend Rajinikanth, who was honoured for completing 50 years in the industry. The celebrated actor expressed heartfelt gratitude, calling the recognition an honour for the entire film fraternity. As dignitaries including Goa Chief Minister Dr. Pramod Sawant and Union MoS Dr. L. Murugan addressed the gathering, they highlighted IFFI’s contributions to India’s cultural legacy and creative economy. The festival’s achievements this year included the successful WAVES Film Bazaar, which generated over ₹1,050 crore in business, the screening of 50 films directed by women, and an array of initiatives supporting young creators and technological innovation.
The Secretary of the Ministry of Information and Broadcasting, Shri Sanjay Jaju, emphasized India’s growing role in the “orange economy,” noting that IFFI 2025 had taken major strides in creating opportunities for creators nationwide. The establishment of the Indian Institute of Creative Technology in Mumbai marked another significant step toward nurturing future talent and integrating technology into creative production.
The festival fondly remembered icons of Indian cinema who passed away this year, honouring their irreplaceable contributions. Esteemed personalities including Ramesh Sippy, Nawazuddin Siddiqui, Kiran Shantaram, and many others graced the ceremony, reaffirming the festival’s stature as a melting pot of creativity and collaboration. The closing night featured captivating dance performances, cultural displays from the Northeast and Karnataka, artistic showcases by divyang performers, and the inclusion of Indian Sign Language interpreters, reflecting IFFI’s commitment to inclusivity.
New initiatives such as the AI Film Festival and the CinemAI Hackathon captured the spirit of the future, providing platforms for creators to explore AI-driven storytelling and production tools. Workshops, masterclasses, and conversations with cinematic luminaries enriched the knowledge landscape of the festival, offering deeper insights into filmmaking and the evolving global entertainment industry.
As the curtains fell on IFFI 2025, the festival left a lasting impression on audiences and participants worldwide. Its celebration of creativity, innovation, and cinematic diversity strengthened its position as a global cultural beacon. With anticipation already building for the next edition, IFFI continues to serve as a powerful platform for storytelling excellence, artistic recognition, and the flourishing of the creative economy.
Thailand’s A Useful Ghost brought a vibrant and surreal close to the International section at the International Film Festival of India, leaving audiences both amused and contemplative. Directed by Ratchapoom, the film explores a whimsical narrative in which a ghost returns not as a human, but as a vacuum cleaner—a playful yet deeply symbolic choice reflecting the real-world dangers of dust pollution that claim the life of the protagonist. The unusual approach was born from Ratchapoom’s desire to break free from conventional depictions of ghosts, blending subtle supernatural elements with unexpected sci-fi touches to create something quietly intimate and visually inventive.
Cinematographer Song Pasit described the film’s visual style as a deliberate interplay between humor and gravity, embracing a philosophy of “don’t be afraid not to be cinematic,” which allowed the team to experiment freely with color, framing, and surreal visual motifs. Behind the scenes, associate producer Tanade Amornpiyalerk highlighted the limited but emerging opportunities in Thai cinema, an industry dominated by Hollywood releases with around 30 local films released annually. Despite these constraints, Ratchapoom emphasized his belief that films should go beyond pure entertainment to express meaningful ideas, a principle evident in A Useful Ghost.
Actor Wisarut Homhuan shared that the role was both challenging and transformative, marking a milestone in his career. Having worked across TV and digital platforms, Homhuan explained that opportunities for film actors in Thailand remain scarce, making his performance in this film a breakthrough moment for recognition within the cinematic landscape. The global journey of the film, from an offbeat concept to festival acclaim, left Ratchapoom astonished and elated. “Who would have thought such a film with such a crazy idea could travel so far and reach so many people?” he remarked, reflecting on the unexpected resonance of his quirky, thoughtful creation.
A Useful Ghost demonstrates the power of imaginative storytelling, blending social commentary with whimsy, and showcasing the evolving face of Thai cinema on the international stage. Its success at IFFI reinforces the notion that even the most unconventional ideas, when executed with heart and vision, can captivate audiences worldwide.
At the 56th International Film Festival of India, Sikkimese filmmaker Tribeny Rai’s debut feature Shape of Momos captured attention for its sensitive and authentic portrayal of everyday life in Sikkim. Screened under the Indian Panorama section, the film explores the cultural and emotional landscape of the Eastern Himalayas through the eyes of its women protagonists. Following the screening, Tribeny Rai, producer and co-writer Kislay, and lead actor Gaumaya Gurung shared insights about the film and the Sikkimese film industry at a press conference.
An alumna of the Satyajit Ray Film and Television Institute, Tribeny Rai is recognized for her nuanced storytelling that highlights the lived experiences of women in her region. Shape of Momos, rooted in her personal experiences and cultural memory, represents a journey of both artistic exploration and logistical perseverance. With Sikkim’s film industry still in its nascent stages, the team faced significant infrastructural challenges, including sourcing professional camera equipment from other cities. Despite these hurdles, the film has already been showcased at international festivals, including Busan, reflecting its global resonance.
The title of the film draws from the ubiquity of momos in Sikkim, a food that accompanies both joyful and sorrowful occasions, symbolizing the shared rhythms of daily life. Producer Kislay noted the importance of presenting stories from underrepresented regions like Sikkim without succumbing to stereotypes. He emphasized that the selection of the film at IFFI represents the fulfillment of a long-held aspiration to bring authentic regional voices to wider audiences.
Lead actor Gaumaya Gurung highlighted the significance of portraying a female perspective, something she finds rare in Nepali-language cinema despite her years of experience. She appreciated the film’s careful balance between subjective and objective storytelling, allowing audiences to engage deeply with the protagonist’s inner world.
Distribution remains a challenge for independent regional films, yet Shape of Momos is slated for release across Sikkim, North Bengal, parts of Meghalaya and Assam, as well as Dehradun, catering to Nepali-speaking audiences. Additionally, the film will have a theatrical release in Italy, extending its reach internationally. Tribeny Rai stressed the need for a supportive community of independent filmmakers in Sikkim to navigate these challenges and enhance visibility.
As the first woman filmmaker from Sikkim, Tribeny Rai reflected on the gradual emergence of film culture in the state. Limited resources and infrastructure make filmmaking a formidable endeavor, but there is growing enthusiasm among young Sikkimese film students, many of whom resonate with the portrayal of familiar lives in Shape of Momos. Through this debut, Tribeny challenges the mainstream cinematic lens that often exoticizes the Northeast or reduces it to narrow narratives, presenting instead a story where everyday Sikkimese people are the heroes of their own lives.
Japanese director Kei Ishikawa captivated audiences and media at the 56th International Film Festival of India in Goa as he presented his second directorial work, A Pale View of Hills, showcased as part of the festival’s special segment, Country Focus: Japan. The curated selection highlights the richness and evolution of contemporary Japanese cinema, offering an expansive range of genres from intimate dramas to ambitious experimental narratives. Ishikawa expressed his delight at visiting India for the first time and spoke about the profound connection he felt with the novel by Nobel laureate Kazuo Ishiguro, upon which the film is based. He reflected on the difficulty of portraying the emotional landscape of a period he did not live through—post-war Japan—and shared that discovering Ishiguro’s novel gave him the direction and confidence he needed to tell the story authentically.
The film follows a young Japanese-British writer who seeks to uncover the truth of her mother Etsuko’s past in Nagasaki, years after the trauma of her elder daughter’s suicide. Etsuko’s memories drift back to 1952, when she was expecting her first child and formed a complicated bond with Sachiko, a woman determined to leave Japan with her daughter Mariko. The fragments of memory and troubling inconsistencies that emerge as the daughter pieces together her mother’s past form the emotional core of the narrative. Ishikawa explained that he was drawn to the story not only for its connection to the atomic bomb but for its nuanced portrayal of women living through different eras, each navigating loss, change, and identity in deeply personal ways.
He also spoke about his decision to write the screenplay himself and to edit the film, describing editing as the final phase of writing. The film’s multinational production—spanning Japan, the UK, and Poland—brought diverse perspectives on how the story should conclude. British producers leaned toward a more definitive ending, while Polish collaborators preferred a subtler, less explicit resolution. Ishikawa acknowledged that the Japanese viewpoint fell somewhere in between, and he appreciated the collaborative discussions that ultimately shaped what he believes is the most fitting ending for the film. His experience creating A Pale View of Hills reflects both a deep respect for Ishiguro’s literary work and a commitment to exploring the emotional truths that lie beneath memory and silence.
