Bollywood actor Ranveer Singh has publicly apologised after igniting a firestorm of criticism for his mimicry of a sacred scene from the film Kantara – Chapter 1 at the closing ceremony of IFFI 2025 in Goa. The controversy erupted when Singh re-performed the film’s climactic “Daiva” scene — referring to the revered deity as a “female ghost” and mimicking the ritualistic expression on stage. What may have been intended as a tribute to Rishab Shetty’s intense performance instead struck a chord with many viewers as culturally insensitive and disrespectful.
In a post on his Instagram story, Singh clarified that his only intention was to highlight and appreciate Rishab Shetty’s exceptional acting. “Actor to actor, I know how much it would take to perform that particular scene the way he did, for which he has my utmost admiration,” he wrote. He further stressed that he has “always deeply respected every culture, tradition and belief in our country.” He concluded by offering a heartfelt apology to anyone whose sentiments may have been hurt.
The backlash gained momentum after clips of the performance circulated widely on social media, with many condemning the imitation as dismissive of the spiritual and cultural significance of the “Daiva” tradition depicted in the film. A formal complaint was reportedly filed by a religious group, adding to the controversy. The incident — coming just days before the release of Singh’s next film — has brought renewed focus on the sensitivity required when engaging with regional cultural narratives.
As part of the 56th International Film Festival of India 2025(IFFI), Entertainment Society of Goa (ESG) in collaboration with the Government of Goa organised Aakash Kandil (lantern-making) competition on 20/11/2025 at ESG promenade.
The competition was open to all the residents of Goa with the maximum cap of 50 entries per Taluka, accepted on a first-come, first-serve basis.
ESG received total 300 plus entries for the same from different talukas. Each participant received ₹500 as a token of appreciation for their effort and creativity. Participants could use any material except thermacol. All the Akash Kandils were kept for dsplay at ESG promenade.
Three winners were chosen from each taluka. The prize money for the competition was Rs. 5000 as first prize, Rs. 3000 as second prize and Rs. 2000 as third prize in each taluka.
First –Akshay S. Satarkar Second- Anikul A. Chitari Third –Ms. Saisha Malvankar
2
Canacona
First –ValankaniVieges Second-Payak J. Padkar Third -Kajal Kale
3
Sattari
First –Vaibhav Vinod Mathkar Second-Arjun P. Majik Third –Supriya Chawan
4
Ponda
First –Kishor Chafadhkar Second-Chandan Velkaskar Third –Amey Naik
5
Tiswadi
First –Jai Ravindra Phadte Second-Atul Kamat Third –Sai Fadte
6
Bardez
First –Nehali Narvekar Second-Sahin Hadfadkar Third –Upesh Mayekar
7
Sanguem
First –Shruti Surendra Naik Second-Atharv Naik Third –Ajoy Gaonkar
8
Marmugao
First – Keshav Ansurkar Second-Mithil Naik Third –Deepesh Naik
9
Bicholim
First –Anup Nair Second-Pratima M. Ghadi Third –Rutvik Ugadekar
10
Pernem
First -Dhiraj Shetgaonkar Second-Sameer Narayan Parab Third – Sainath Pednekar
11
Dharbandora
First –Sharmesh Chari Second-Unmesh Lavu Naik Third- Prajyot R. Dessai
12
Quepem
First –Gaurav Raju Hornekar Second-Vidhya Naik Third – Navida Naik
The Float Parade Competition was held on 20th November 2025, in Two Segments. i.e. Segment 1- Goan Float Parade and Segment 2 – Promotional Float Parade.
Segment 1- Goan Float Parade Result
Result
Winner Name
1st Prize
Shree Dev Bodgeshwar Yuva Sangh, Mapusa, Goa
2nd Prize
Shree Krishna Haushi Mandal, Margao, Goa
3rd Prize
Raul Pereira, Quepem, Goa
4th Prize
Triveni Kala Sangh, Durgabhat, Ponda Goa
5th Prize
Joel Barbosa, Fatorda, Goa
Consolation Prize
Valencio D’souza, St. Estevam, Goa
Consolation Prize
Alexinho Da Silva, Curtorim, Goa
Consolation Prize
Irist D’Silva, Quepem, Goa
Consolation Prize
Mahalaxmi Nagrik Samiti, Bandora, Ponda Goa
Consolation Prize
Shree Dev Dhadeshwar Sports and Cultural Club, Nerul, Bardez, Goa
Float Parade Competition (Applicable only for segment 1 – Goan floats)
1st Prize – Rs.350000/-
2nd Prize – Rs. 300000/-
3rd Prize – Rs. 250000/-
4th Prize – Rs. 200000/-
5th Prize – Rs. 150000/-
5 Consolation Prizes – Rs. 100000/- each
A remuneration of Rs. 30000/- each will be paid to float Parade participants who do not receive any prizes.
Segment 2 – Promotional Float Parade Result
Result
Winner Name
1st Prize
Andhra Pradesh
2nd Prize
Hombale Movie Makers
3rd Prize
Waves OTT
4th Prize
ZEE Studios
5th Prize
Haryana
Float Parade Competition (Aplicable for segment 2 – Promotional floats)
1st Prize – Rs.2,50,000/-
2nd Prize – Rs. 2,00,000/-
3rd Prize – Rs. 1,50,000/-
4th Prize – Rs. 1,25,000/-
5th Prize – Rs. 1,00,000/-
A remuneration of Rs. 30000/- each will be paid to float Parade participants who do not receive any prizes as an incentive towards their participation and creative contribution.
The Romtamel Competition was held on 21st, 23rd, 25th & 26th November 2025.
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.
