The Entertainment Society of Goa has announced the 8th edition of the Goa Anti-Tobacco Film Festival 2026, set to take place on May 31, 2026. Organised in association with the Department of Public Health Dentistry, Goa Dental College and Hospital, the festival aims to use the power of cinema to raise awareness about the harmful effects of tobacco use and reduce the incidence of oral cancer and heart diseases in Goa.
With the theme “Unmasking the appeal: Countering Nicotine & Tobacco Addiction,” this year’s festival invites filmmakers, students, and institutions to create impactful ad films that challenge the perception of tobacco and highlight its risks. The initiative not only focuses on public health awareness but also promotes film art through non-profit screenings.
The festival will be conducted in two sections — the Goa Section and the National Section — ensuring participation from both local and national talent. The Goa Section is open to films produced by Goan individuals, production houses, students studying in Goa, and local institutions. Entries can be in Konkani, Marathi, Hindi, or English, and must not exceed two minutes in duration, with mandatory English subtitles.
The National Section, on the other hand, is open to participants from across India, with films required to be in Hindi or English. Similar to the Goa category, entries must be ad films of up to two minutes and include English subtitles.
Interested participants must complete their registration by April 17, 2026, by submitting the official form available on the ESG website. The final deadline for submission of films along with supporting documents is May 13, 2026.
The festival also offers attractive prizes to encourage participation and reward impactful storytelling. In the Goa Section, the first prize carries ₹50,000, followed by ₹30,000 for second place and ₹20,000 for third. In the National Section, the top prize stands at ₹1,00,000, with ₹50,000 and ₹30,000 awarded to second and third place winners respectively.
By combining creativity with a strong social message, the Goa Anti-Tobacco Film Festival continues to serve as an important platform for filmmakers to contribute to public health awareness while showcasing their talent. As entries open, the festival once again calls on storytellers to use their voice and vision to inspire change and promote a tobacco-free future.
At 17, like many others trying to follow a “secure” path, he chose medicine. Enrolling in an MBBS program wasn’t just a career decision—it was also about living up to expectations, especially those shaped by family. But even while navigating textbooks and lectures, there was another side to him quietly growing stronger. He wrote poetry, stories, even drama—creative expressions that hinted at something deeper waiting to surface.
It didn’t take long for that internal conflict to become impossible to ignore.
Something didn’t align.
And that simple realization led to a much bigger question—who was he, really?
What followed wasn’t a sudden breakthrough, but a phase of exploration. Swapnil began trying different forms of expression, almost like searching for a language that felt truly his. Music came first. He picked up the guitar and flute, even played in a band. For a while, it seemed like this could be it. But slowly, doubt crept in. He felt he had started too late, that he might never reach the level he envisioned.
Writing, which had once felt natural, also began to feel limiting. Not because he didn’t love it—but because it didn’t fully capture everything he wanted to say.
And then, cinema happened.
During his college years, exposure to world cinema and a filmmaking workshop changed everything. It wasn’t just about watching films—it was about understanding them. Breaking them down. Feeling them differently.
For the first time, he found a medium that didn’t ask him to choose between his interests. Cinema allowed him to combine them all—music, writing, visuals, performance. It was collaborative, layered, and limitless.
It felt like home.
Like many filmmakers, his influences were shaped by what moved him. The raw honesty of Anurag Kashyap left a strong impression early on. He admired the craftsmanship of Vijay Anand and the storytelling brilliance of Salim–Javed, even before he consciously realized their impact.
Over time, his cinematic world expanded. Filmmakers like Mani Ratnam and Mahesh Bhatt added new layers to his understanding of storytelling.
Across regions and borders, inspiration continued to flow—from Lijo Jose Pellissery and Umesh Kulkarni to global masters like Bong Joon-ho, Akira Kurosawa, Park Chan-wook, and Martin Scorsese. He also holds Billy Wilder among his absolute favorites, alongside Woody Allen and Kathryn Bigelow.
Beyond cinema, literature shaped him just as deeply—especially the works of Haruki Murakami. But above everything else, Swapnil believes that life itself is the greatest teacher.
His approach to storytelling reflects that belief.
Ideas don’t arrive in a structured format. They come as fragments—a visual, a feeling, a line of dialogue, sometimes even a news report. His film Stolen was born from one such moment—a disturbing real-life incident where misinformation spread through WhatsApp led to mob lynching. But instead of simply recreating the event, he chose to explore the psychology behind it. Why do people behave the way they do in a crowd? What drives fear into violence?
That curiosity became the foundation of the film.
His process is meticulous but organic. A spark becomes a premise. A premise becomes a logline. That expands into a paragraph, and eventually a detailed treatment of 30 to 40 pages. Only then does the screenplay begin.
And even then, it’s just the beginning.
The first draft—often stretching between 100 to 150 pages—is far from final. For Swapnil, writing is rewriting. And in filmmaking, rewriting doesn’t stop on paper—it continues on set, and even in the editing room.
Collaboration plays a crucial role here, especially with actors. During Stolen, he remained closely involved throughout the shoot, constantly refining scenes. He values the way actors interpret moments, often catching nuances that might escape a writer or director too close to the material.
But like most independent filmmakers, the journey hasn’t been without challenges.
Reaching the right audience remains one of the biggest hurdles. While mainstream films like Pushpa: The Rise are built for mass appeal, independent cinema often struggles with distribution—both in theatres and on OTT platforms.
This is where film festivals become vital.
For Swapnil, they weren’t just platforms—they were gateways. Stolen connected with audiences far beyond India, resonating in countries like Italy, Germany, and China. Its premiere at the Venice Film Festival in 2023 marked a defining moment in his journey.
But what makes that milestone even more powerful is the journey behind it.
The film began in November 2019 and went through nearly 70 drafts before reaching its final form. Years of persistence, doubt, rewriting, and rebuilding—all leading to a story that finally found its audience.
At its core, Swapnil’s work is driven by connection.
He wants audiences to feel something—whether it’s laughter, discomfort, fear, or empathy. He sees himself as both an entertainer and a storyteller, someone who can engage while also making people think.
And he’s far from done exploring.
Currently, he’s venturing into horror and thriller genres, while also working on a deeply personal story about two societal misfits—another example of his instinct to explore the human condition from different angles.
On a personal level, the success of Stolen brought something beyond professional validation.
It brought emotional closure.
Walking away from medicine without industry backing wasn’t easy. But today, seeing his parents proud of the path he chose—that makes it all worth it.
Stories, for Swapnil, are not just a profession—they’re a way of life. He consumes them endlessly—books, films, poetry, graphic novels. There are days he watches three to four films back-to-back, simply because he wants to understand storytelling better.
And if you asked him which fictional world he’d step into?
It would be Breaking Bad—to experience life as Walter White.
Because at the end of the day, what fascinates him most isn’t just stories—it’s people. Their choices, their contradictions, their journeys.
And maybe that’s why, if given a superpower, he wouldn’t choose invisibility or flight.
He’d choose storytelling.
The power to move people. To persuade. To connect.
Because sometimes, the most powerful thing you can do… is tell a story well.
Making a memorable debut at the 79th British Academy Film Awards, Alia Bhatt brought a refreshing desi touch to one of cinema’s most prestigious global platforms. Held at the iconic Royal Festival Hall in London, the ceremony witnessed a moment that quickly became a fan favourite.
Taking the stage as a presenter for the Best Film Not in the English Language category, Alia began her speech with a warm and confident “Namaskar,” instantly capturing attention and admiration. She followed it up with a light-hearted clarification in English, saying, “Don’t reach for the subtitles just yet,” drawing laughter and applause from the audience.
Her gesture wasn’t just charming—it symbolised a growing global acceptance and celebration of diverse cultures in mainstream cinema. By choosing to speak in Hindi on such a platform, Alia effortlessly showcased her roots while connecting with an international audience.
The award category featured notable films like It Was Just an Accident, The Secret Agent, Sentimental Value, Sirāt, and The Voice of Hind Rajab, with Sentimental Value taking home the honour.
Social media quickly lit up with praise for the actor, with fans calling the moment “iconic,” “classy,” and a proud representation of Indian culture. Many appreciated how naturally she balanced elegance with authenticity, making the moment feel both powerful and personal.
Adding to the glamour of the evening, Alia stunned in a custom silver gown by Gucci, paired with a white stole. Inspired by the timeless style of Marilyn Monroe, her look perfectly complemented the sophistication of the event.
In her own words, shared with British Vogue, Alia expressed her excitement about the appearance, stating that she wanted to bring glamour while keeping the look elegant.
Her BAFTA debut was more than just a red carpet appearance—it was a statement of identity, confidence, and the universal language of cinema that transcends borders.
Indian cinema has reached yet another remarkable milestone on the global stage, as Boong, a Manipuri-language feature film, clinched the prestigious Best Children’s & Family Film award at the British Academy Film Awards. The ceremony, held at the Royal Festival Hall in London, witnessed the film rise above strong international contenders, marking a proud moment for the country—especially for filmmakers from Northeast India.
Directed by Lakshmipriya Devi, Boong is backed by a powerful production team including Excel Entertainment, Chalkboard Entertainment, and Suitable Pictures. Renowned filmmaker and actor Farhan Akhtar, along with Ritesh Sidhwani and Alan McAlex, played a key role in bringing the project to life.
Set against the backdrop of Manipur during a period of social and political unrest, Boong tells a deeply emotional story through the eyes of a five-year-old boy. The word “Boong” itself translates to “little boy” in the Manipuri language. The narrative follows the young protagonist, played by Gugun Kipgen, who embarks on a heartfelt journey to reunite his family by finding his estranged father. Accompanied by his friend Raju, portrayed by Angom Sanamatum, the journey takes them to the Moreh border and even across into Myanmar.
What begins as an innocent quest gradually evolves into a poignant exploration of family, loss, and the harsh realities of the world. The film beautifully captures the purity of childhood while presenting an emotionally layered narrative that resonates universally.
Before its BAFTA triumph, Boong had already made waves across the international film festival circuit. It premiered at the Toronto International Film Festival (TIFF) 2024 and was showcased at prestigious platforms such as the Warsaw International Film Festival, MAMI Mumbai Film Festival, the International Film Festival of India, and the Indian Film Festival of Melbourne. Following its successful festival run, the film was released theatrically in September 2025.
Speaking about his association with the project, Farhan Akhtar shared that his long-standing connection with director Lakshmipriya Devi and the emotional depth of the story inspired him to support the film. He emphasized the importance of bringing stories from underrepresented regions of India to a global audience, calling Boong a soulful and meaningful narrative.
The film’s victory at the BAFTAs is more than just an award—it represents a breakthrough moment for Northeast Indian cinema. It highlights the richness of regional storytelling and signals a growing global appreciation for diverse voices from India.
As Boong continues to receive international recognition, it stands as a testament to the power of authentic storytelling and the limitless potential of Indian cinema on the world stage.
The Filmfare Awards South 2026, held in Kochi to celebrate the best in Malayalam, Tamil, Telugu, and Kannada cinema, was a glittering event that brought together the region’s most talented artists. While the ceremony honoured outstanding performances and films like Pushpa 2: The Rule, Amaran, Aadujeevitham, and Bramayugam, actor Niharika Konidela highlighted a notable concern following the event.
Taking to Instagram, Niharika praised the gathering of talent and described being in the room with so many artists as “truly special.” Yet she expressed disappointment that the debut winners from Telugu, Tamil, and Kannada cinema were not given a moment to speak on stage. According to her, for first-time awardees, that stage is more than recognition—it is the realisation of a dream and a platform to inspire audiences. She wrote, “Time constraints are inevitable in a show of this scale, but that one minute shouldn’t be taken away from someone standing on that stage for the first time. Because for them, that one minute may last a lifetime.”
Niharika’s remarks strike a chord in an industry where recognition and visibility play a pivotal role in shaping careers. The ceremony, while celebrating established artists, missed a chance to amplify the voices of emerging talent, a point that Niharika stressed could have made a lasting impression on audiences and fellow artists alike.
Coming from a family deeply rooted in Telugu cinema—she is the daughter of actor-producer Nagendra Babu and niece of megastar Chiranjeevi—Niharika has herself balanced the roles of actor and host, having appeared in films such as Oka Manasu, Suryakantham, and Happy Wedding, and hosted the popular show Dhee Juniors. Her candid observations reflect both personal insight and empathy toward emerging artists navigating the challenges of an industry driven by visibility.
Beyond her professional commentary, Niharika’s personal life has also been in the public eye. She became engaged to Chaitanya Jonnalagadda in a close-knit ceremony in 2020 and announced their divorce in 2023, events that further underline her openness in sharing life experiences alongside her professional journey.
Niharika’s reflections on the awards ceremony serve as a reminder that while accolades celebrate achievement, the moments of recognition on stage—particularly for debutants—carry immense symbolic value. Her call to give first-time winners even a brief opportunity to speak underscores the importance of nurturing new talent and ensuring that the next generation of artists feels seen, heard, and inspired.
