Tag: IFFI 2025

Events in Goa

Kei Ishikawa Brings A Pale View of Hills to Life at the 56th IFFI, Goa

Tanisha Cardozo

Written by Tanisha Cardozo || Team Allycaral

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.

Events in Goa

“This Tempting Madness” Team Unpacks Memory, Misogyny & Survival at IFFI 2025

Tanisha Cardozo

Written by Tanisha Cardozo || Team Allycaral

The press conference for This Tempting Madness at IFFI carried the same intensity and emotional weight as the film itself. Director Jennifer Montgomery, producer Andrew Davis, and actors Suraj Sharma and Zenobia Shroff came together to explore the responsibility of telling a story born from real pain. Jennifer began with a candid admission that the film is inspired by a true and deeply unfortunate event, a narrative so heavy that even speaking about it remains difficult.

She explained that cinema can often capture emotions and complexities that words alone cannot, offering audiences a space to understand experiences that are usually hidden from view. Andrew expanded on this, acknowledging the delicate balance required when adapting real-life trauma. The goal, he noted, is not simply to retell an incident but to search for meaning, context, and the lingering questions that haunt those affected.

Suraj Sharma spoke with quiet sincerity about how personal the project felt to him. Calling emotional and mental abuse “alarmingly common,” he shared that he had witnessed someone close to him endure abuse and had intervened to help her leave the situation. For him, the film stands as a tribute to those who have lived through such experiences.

Zenobia Shroff added depth with her reflection on portraying an Indian mother navigating cultural pressures and unspoken expectations. She described the familiar but often unexamined dynamic where silence is encouraged, a silence rooted in internalised misogyny. Her hope, she said, was to expose these patterns and shift the narrative toward empowering women and raising better men.

While the film features Indian characters, Jennifer emphasised that the story itself is universal, noting that Simone Ashley was cast simply because she was the best fit for the role. The rest of the cast helped her navigate cultural nuances she was less familiar with. Technically, the film uses intercut memories to mirror the protagonist Mia’s amnesia and confusion.

Jennifer explained that memory loss is inherently unreliable, so the visual language intentionally shifts between the present and fragmented recollections to reflect her disorientation. When asked about literary influences such as Virginia Woolf, Jennifer admitted she had not drawn from them but expressed curiosity to explore that connection now.

Ultimately, she summarised her artistic goal as finding the humanity in every character, acknowledging that everyone faces moments where they feel tempted by their own inner chaos. Andrew closed the conversation on a hopeful note, emphasising that though the story is rooted in real suffering, it is also a testament to strength—people can grow, change, and emerge more resilient.

With themes of trauma, love, confusion, and survival, This Tempting Madness left the IFFI audience with more than reflections on filmmaking; it offered a deeper invitation to consider the unseen battles people carry and the empathy required to understand them.

Events in Goa, IFFI 2025

Waves Film Bazaar 2025 Concludes with Momentum at the 56th IFFI; Expanded Edition Announced for 2026

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The Waves Film Bazaar 2025 concluded with a vibrant closing ceremony at the 56th International Film Festival of India (IFFI), marking the end of five impactful days of networking, innovation, and global cinematic exchange. The event gathered global filmmakers, producers, distributors, funders, and emerging creators, reaffirming its status as one of Asia’s most influential film industry platforms.

The ceremony saw the presence of esteemed dignitaries including Joint Secretaries of the Ministry of Information and Broadcasting — Dr. Ajay Nagabhushan MN and Dr. K. K. Nirala, NFDC Managing Director Prakash Magdum, Waves Film Bazaar Advisor Jerome Paillard, IFFI Festival Director Shekhar Kapur, filmmakers Rajkumar Hirani and Sriram Raghavan, and internationally acclaimed actor Rachel Griffiths.

The event began with a solemn one-minute silence in honour of legendary actor Dharmendra, paying tribute to his monumental legacy in Indian cinema.

Momentum for 2026: An Expanded 20th Edition

In his opening remarks, Dr. Ajay Nagabhushan announced that the 20th edition of Waves Film Bazaar will return in an expanded and more ambitious format, reflecting the soaring global interest in Indian co-productions, script labs, and AI-driven filmmaking initiatives.

NFDC MD Prakash Magdum reaffirmed the organisation’s commitment to nurturing independent minds, emphasizing the success of previously selected projects and the rising global footprint of Indian stories.

A wrap-up video capturing the festival’s highlights set the celebratory tone for the awards that followed.

Major Awards & Recognitions

Co-Production Market & Development Grants

  • Kakthet (Idiot) – First Co-Production Grant ($10,000)
  • Ulta (Madam) – Second Co-Production Grant ($5,000)
  • Simhastha Kumbh – Special Documentary Grant ($5,000)
  • The Manager, Azhi, Ustad Bantoo – Red Sea Fund Awards
  • Nazma Ka Tadka – Platoon One Script Development Grant
  • Teacher’s Pet, White Guy – Casting Company Awards
  • 7 to 7 – UCCN City of Film Best Project Award

Post-Production Lab Winners

Projects such as Khoriya, Azhi, The Ink Stained Hand and the Missing Thumb, Born Yesterday, Aakkaatti, and Khamosh Nazar Aate Hain received major post-production support from Nube Studios, Prasad Corporation, Moviebuff, and others.

Premiere GAP Funding & Distribution

  • Echoes of the Herd – Matchbox GAP Award
  • Soul Whispers – M5 Global Film Fund
  • Chingam – Reborn India Theatrical Distribution Award

AI Film Festival & CinemAI Hackathon: A Global First

Supported by LTIMindtree, the AI showcase attracted entries from more than 18 countries.

Award Highlights:

  • KYRA – Best AI Animation
  • The Cinema That Never Was – Most Innovative AI Film
  • Nagori – Best AI Short
  • Special Mentions: The Last Backup Final Part, Miracle on the Kachua Beach

The CinemAI Hackathon honoured excellence in:

  • Sound
  • Visuals
  • Storytelling
  • Innovation
  • Best AI Film — The Red Crayon

Spotlight on Emerging Talent

The Student Producer’s Workshop awarded upcoming creators including Kaashviy Ommkaar, Aniket Joshi, Radhika Kinare, Riya Varghese, and Sakshi Mishra, highlighting the promising next generation of Indian filmmakers.

The event concluded with a heartfelt Vote of Thanks by Vineeta Mishra, Head of Waves Film Bazaar, followed by a celebratory stage appearance by the entire team. With powerful partnerships, visionary storytelling, and global engagement, Waves Film Bazaar 2025 sets the stage for an even bigger, bolder edition in 2026.

Events in Goa, IFFI 2025

Masterclass on “The New AI Cinema” Explores the Future of Filmmaking at IFFI 2025

Tanisha Cardozo

Written by Tanisha Cardozo || Team Allycaral

The sixth day of the International Film Festival of India (IFFI) 2025 delivered one of the festival’s most forward-looking conversations through its masterclass titled “The New AI Cinema: A Discourse on Generative AI and Large Language Models (LLMs)”. The session brought together eminent voices from technology and cinema, including technologist Shankar Ramakrishnan, AI expert V. Muralitharan, and internationally celebrated filmmaker Shekhar Kapur, who led an engaging and visionary dialogue on how rapidly developing artificial intelligence tools are reshaping the art and craft of filmmaking.

The session opened with Ravi Kottarakara honouring Shekhar Kapur for his pioneering impact on Indian cinema, highlighting his innovative approach to storytelling and his enduring influence with films like Mr. India, still celebrated for its technical brilliance and cultural legacy. Kapur reflected on the profound shift unfolding across the world with the rise of AI, describing it as the most democratic medium ever introduced to filmmaking. He emphasised that AI has dissolved long-standing barriers, giving unprecedented creative access to individuals who previously had limited pathways into the industry. Illustrating this point, he shared an anecdote about his cook who used ChatGPT to create a script for Mr. India 2, demonstrating how transformative and inclusive AI-powered creativity has become.

Kapur expressed confidence that India, home to the world’s largest youth population, is poised to take a leading role in shaping the future of film technology. He also clarified the difference between traditional VFX and AI-driven processes, noting that while VFX involves crafting or modifying visuals digitally, AI leverages machine-learning models to automate, enhance, or even generate creative elements, fundamentally shifting the way films can be conceived and executed.

Technologists Shankar Ramakrishnan and V. Muralitharan expanded the conversation by demonstrating how modern AI tools such as ChatGPT and Google Gemini assist filmmakers across multiple stages of production, from scripting and storyboarding to generating detailed shot descriptions including lighting, camera angles, and visual dynamics. They showcased their AI-enhanced project The Turban and The Rock, written by Raja Rao, explaining how various AI platforms were integrated seamlessly into its creation.

The interactive Q&A session that followed encouraged deeper conversations about the larger possibilities of AI in cinema. The panellists highlighted how emerging technologies can support documentary production, archival restoration, film education, and creative ideation. Audiences were given a glimpse into the future through the screening of an AI-generated short documentary titled The Lost Legends, which demonstrated the growing sophistication of AI-driven visual storytelling.

Despite the enthusiasm surrounding technological advancement, Shekhar Kapur grounded the discussion by reminding the audience that cinema’s true heart lies in human emotion. He emphasised that while AI can accelerate processes and expand creative possibilities, it is ultimately the human artist who breathes life, meaning, and emotional depth into a film.

The session concluded with a touching tribute to legendary actor Dharmendra, honouring his immense contribution to Indian cinema and reminding attendees that while the tools of filmmaking may evolve, the soul of the art remains in the stories and performances that connect deeply with audiences.

Events in Goa, IFFI 2025

Global Voices at IFFI Explore Motherhood, Identity and History Through Two Powerful Films

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IFFI witnessed a remarkable convergence of storytelling today as the teams behind Mother’s Baby and My Father’s Shadow came together for an insightful and emotionally rich conversation. What unfolded was a deep dive into the methods, memories, and lived experiences that shaped two very different films—each exploring profound human truths.

A Lagos Day That Holds a Lifetime: Akinola’s Intuitive Filmmaking Journey

Akinola Ogunmade Davies, director of My Father’s Shadow, offered an intimate look into the film’s origins. Adapted from an early short film written by his brother, the story unfolds during the 1993 Nigerian elections, echoing the brothers’ own childhood memories of political tension and uncertainty.

Akinola described intuition as his primary compass. “The micro story is the father and his boys. The macro story is the election and everything gets blended,” he said. Keeping the narrative within a single day gave him creative freedom—“We weren’t tied down by continuity; we could focus on emotion.”

He shared the emotional toll of certain scenes, especially a powerful funeral moment that left him shaken. “I stayed in bed for two days and cried,” he admitted, calling it a testament to the film’s emotional weight.

He also gave audiences a textured look into Nigeria—its political shifts, linguistic diversity, and the gaps in historical education. English, Creole, and street language intermingle in the film, mirroring the cultural mix that defines the country. His reflections painted Nigeria as a deeply complex yet underrepresented protagonist in global cinema.

The Unspoken, Unsettling Layers of Motherhood in ‘Mother’s Baby’

For Mother’s Baby, the emotional core lies in exploring a woman’s vulnerable and disorienting postpartum journey. Cinematographer Robert Oberrainer explained that the film’s visual language was crafted to let audiences “walk with her” as she navigates the unsettling feeling of disconnect from her own baby—conceived through an experimental fertility procedure.

Production designer Johannes Salat highlighted the universality of the theme. “It’s a subject deeply important for women,” he emphasized. The chosen location, he said, “felt like it belonged to the story.”

The film builds tension through subtle narrative and psychological cues—moments where the mother’s reactions do not align with those around her. The climax is intentionally open-ended, a “puzzle” for viewers to interpret.

Filmmaking as Reinvention: When Detours Become Discovery

Both teams reflected on filmmaking as an ever-changing path. Robert recalled how scenes intended for later in the film were moved to the front during editing—a shift he initially resisted. The director reminded him, “emotion comes first, not continuity.”

Johannes added, “Sometimes you end up in a place better than where you thought you were going.”

Akinola agreed wholeheartedly: “You make the film three times—when writing, shooting, and editing.” Deviations, he said, are not setbacks but discoveries.

In the end, the session became a vibrant exchange of ideas—two films born from vastly different landscapes, yet united by instinct, emotional truth, and storytelling’s wild, unpredictable journey.