Started as part of the Government of India’s efforts to institutionalize the film industry, the International Film Festival of India is also the story of Indian cinema’s evolution since 1952. Here is how the story unfolded
By Manoj Srivastava
The first edition of the Film Festival was headed by Mohan Dayaram Bhavnani, Chief Producer, Films Division and organized with a budget of Rs. One Lakh only in five cities of India. The Festival began in Mumbai on January 24, 1952.
To a country that was heavily feeding on Hollywood ever since the WW-II, the arrival of European cinema was a revelation. In the words of Film Historian, B.D. Garga, “Of the 50 Feature Films screened from 25 countries, the largest number came from Italy, among them Roberto Rossellini’s Open City and Vittorio De Sica’s Bicycle Thieves and Miracle in Milan, which came closest to the Indian socio-economic situation.”
The second edition of the Festival could not be organized till 1961 and then again, the third one in 1965, the fourth in 1969 and the fifth in 1974-75 because of various factors like wars, lack of funds and other multiple factors.
From the third edition onwards, in 1965, the International Film Festival of India became competitive and therefore graded as ‘A’ category festival by the Paris-based Federation International de Producers de Films (FIAFP). With this recognition, the festival in India came on par with Cannes, Berlin, Venice, Karlovy Vary and Moscow festivals.
The current logo and tagline of IFFI ‘Vasudhaiva Kutumbakam’ (The World is One Family) and the Peacock were adopted during this edition. This was also the year after which the Government of India decided to take the initiative of ‘Filmotsav’, which was to be a non-competitive version of IFFI. The Festival hereafter was to be called IFFI (Competitive) and Filmotsav (Non-Competitive) and organized in alternative years. While IFFI was to be organized in New Delhi, the Filmotsavs were to be organized at major Indian film production centers like Mumbai, Chennai, Kolkata, Hyderabad, and Trivandrum by rotation. The pattern continued till 1989 after which the word’ Filmotsav’ was discarded and all Festival editions were named IFFI.
The Indian New Wave movement was gaining momentum in the 1970s and these films were finding spaces in international film festivals. However, these were costly times with no free flow of information about Festival participation. The Government of India introduced the Indian Panorama, a collection of 21 Best Indian Feature and Non-Feature films, which were to be converted into a package of films and sent for participation in foreign film festivals during the 6th edition of IFFI. Films and filmmakers under this umbrella were now promoted and sponsored by the government to sustain the movement. This edition also witnessed the emergence of the first regular Film Market set up by Indian Motion Picture Export Corporation.
Filmotsav’s Madras and Bangalore editions of 1978 and 1980 were visited by legends like Istvan Szabo, Sumitra Lester Peries, Emile de Antonio, Shyam Benegal,
Girish Karnad. Since then, each city got to host Filmotsav after a gap of almost 12 years. The local enthusiasm was tremendous. This enthusiasm further created space for art-house cinema and a fan following which led to setting up of other international Film Festivals like Kerala, Kolkata, Chennai, and Bangalore almost 20 years later.
The French New Wave took almost 10 years to reach India but when it did, it ignited the young minds. Films like ‘Bhuvan Shome’ by Mrinal Sen (1969), ‘Us Ki Roti’ by Mani Kaul (1970), ‘Maya Darpan’ by Kumar Shahani (1972), ‘Swayamwaram’ by Adoor Gopalakrishnan (1972) found a ready domestic platform in IFFI to create an audience for Indian New Wave.
Roman Polanski, then 44-year-old, attended the Filmotsav, Bangalore in the Year 1980 as the Festival presented a retrospective of his films. Michael Cacoyannis, the noted Greek Filmmaker, too, attended the Festival which had Devika Rani Roerich as the Chief Guest.
Filmotsav 1982 began in Kolkata at the Rabindra Sadan. The Festival had a retrospective of Jean Luc Godard films and the tickets for all his films were sold in two hours.
In early 1990s, the complexion of Indian Cinema began to change again due to several factors like arrival of satellite television, Doordarshan, the state television, slowly losing its monopoly and control over Indian masses made a dent in the fan following of the Festival which till now had enjoyed complete madness and monopoly over the Indian masses supported by State-funded bodies like Directorate of Film Festivals, National Film Development Corporation, Doordarshan and others.
The 32nd edition of IFFI in Delhi ushered in the new century. Earlier, not many Hindi commercial films had been able to find space in any edition of IFFI except for ‘Parinda’ by Vidhu Vinod Chopra, but this edition had ‘Hum Dil De Chuke Sanam’ of Sanjay Leela Bhansali, a supposedly commercial film with smattering of minimalism of art-house cinema-style sporadically.
The 33rd edition of IFFI at Bangalore could not take place due the flood situation in the State. This was the time when the Government of India began contemplating on an alternate venue and do away with the concept of a traveling film festival. Many places to root the Festival were suggested like New Delhi, Kochi, Pondicherry and Goa, and finally Goa was chosen.
The 33rd edition of IFFI took place in New Delhi pending a decision on Goa. The highlight of the Festival was 10 versions of ‘Devdas’ produced in various Indian languages. The competition was now restricted to Asian Films. The ‘Film Bazaar’, as seen today, took shape at this edition in Delhi’s Siri Fort Auditorium Complex.
Goa was the new high for the 35th IFFI. There was enthusiasm all around, hope, expectations and the film industry participated in full force. New venues like Inox Auditoria, a promenade was developed, roads were improved, special intersections created, existing buildings like Old Goa Medical College and Kala Academy were modified and restored. Thespian Dilip Kumar inaugurated the Festival along with the Governor and Chief Minister of Goa.
The 39th IFFI in 2008 launched a business platform for International Short films by the name Short Film Center. The Film Bazaar began to gain prominence with the Co-Production Market and the Film Lab.
Actor Ben Kingsley attend the 40th edition of IFFI in 2009 in Goa and delivered a Master Class. The Red Carpet was instituted at the Festival. Online ticketing was introduced.
Inaugurated by Shah Rukh Khan, the popular Indian actor, the Festival added a new venue in Margao, Rabindra Bhavan during the 42nd IFFI in Year 2011. The concept of Film Village was experimented with to accommodate the low budget Festival delegates
From 43rd IFFI onwards the Festival shifted its inaugural ceremony to Bam bolim Stadium to accommodate a crowd of over 9,000 in the Year 2016.
Highlights
Uday Shankar forms New Tech and Media Venture with James Murdoch
CII Seeks Industry Status for M&E in Union Budget
51st IFFI Will Capture New Narratives in Cinema
15 Films Compete for Golden Peacock at #IFFI51
Top IFFI Picks: Another Round, Mehrunisa, Wife of A Spy
Hybrid IFFI From January 16
CII BIG PICTURE SUMMIT 2012: Growth Triggers From Ronnie
What Media Guru Amit Khanna Said in CII BIG PICTURE SUMMIT 2012
LATAM Market Ventana Sur from November 30
Blue Efficience Roped in For Ventana Sur
Films to watch @ Ventana Sur
India Rolls out Red Carpet to Foreign Filmmakers
Ramesh Sharma’s New Documentary Film on Gandhi at AFM
The Warrior Queen of Jhansi at AFM
With Film Visa, Global Producers Can Now Shoot in India
www.cinemarket.io – Buy, Sell & Engage
Embracing Cinema Through Screens of all Sizes
Nomadland wins People’s Choice at Toronto
MIPCOM 2020 Goes Entirely Online
South Korea will be MIPCOM 2020 country of honor
India, the Window of Opportunity
Get Ready for Hybrid IFFI
Film Making Centres of India
Get Your Film Take Wings at Virtual Film Bazaar
Make at least Ten co-productions in a year
Filmmakers Should Make use of India-Canada Treaty
TIFF: The Show and Business Goes on
Navigating Toronto Film Festival and Industry
Make in India, Show the World
Be Part of the Pickle India Focused Toronto Edition
ads2OTT set to Launch in Oct 2020
MovieSaints to release Memories of a Forgotten War
Truth Is Dead
Submissions Open For Berlinale Co-Production Market
Gender Equality-Berlinale Eliminates Silver Bear for Best Actor and Best Actress
All3Media, A+E Networks, BBC Studios, ZDF Join MIPCOM 2020 Global UPFRONTS Lineup
NürnbergMesse’s Content India Show from October 29-31
Berlinale 2021 Will be a Physical Festival; EFM in Hybrid Format
Best of 2020: A Dazzling Dozen
Striking the Right Chord
Ishaan Khatter looking ‘beyond clouds’ with promising upcoming projects
IFFI 2020 Adopts Hybrid Online-Physical Edition
India Unbound
20 Films That Make us Believe Freedom is Priceless
Krishna Janmashtami Special
National Education Policy: Game Changer
18 Must-See Films at Venice 2020
Ayushmann Turns Athlete
Indian Trio in Venice
Blockchain: The Future is Now
Not right time to open cinema halls: Ravi Kottarakara
Meet, ERICA. AI Actor in a SCI-FI Film
Vidya Balan Set to Shine as Shakuntala Devi
Straight Answers From Alexander Shulgin
Content is king for Saregama’s Yoodlee
Nuggets From Animation Thought Leaders
NYIFF Takes Virtual Route
From The Heart Of Disney
New Model of Filmmaking in India
My Journey: How I Did It
Animation in the Age of Art & Tech
Making Filming in India More Easy
Gaurav Banerjee: Star Unveiled
FDI cap of 26% for News Aggregators Under Consideration
The Changemaker
COVID-19 has Accelerated Digital Shift Towards Across Sectors
No Business as Usual for Film Industry
What’s Wrong With our News Media Today ?
The Fire Inside Regina
Gaming Industry Braves Covid
Disney +Hotstar Leads the Disruption
Taapsee’s takes on OTT, Nepotism & Covid
Oscar Invites QUBE’s Senthil Kumar to be its Member at Large
What’s New Search Engine Neeva Can Do That Google Cannot?
The New Oscar Award Date April 25, 2021
India to Offer Incentive Package for Film Shoots and Co-Production
‘NFDC Film Bazaar Goes to Cannes’
Strings of Genius
A Ray That Still Lights The Way
Best of the Cannes Official Selection 2020 Films
Most Awaited Films of India
56 Films: Cannes Reveals 2020 Lineup
The Making of Cannes 2020 Film Selection Process
Cannes Virtual Film Market Extends Earlybird Registration to June 12
Take a Look at Annecy Competition Lineup
Getting Back to Business, Reveals Media Consumption Pattern
Cannes 2020 to Announce Festival Selection Lineup on June 3
20 Work in Progress Tiltles Unveiled for Goes to Cannes
Annecy VR Works Selections for Digital MIFA Market
Film Bazaar’s Work in Progress Films from India Goes to Cannes Virtual Market
Navigating Virtual Cannes Film Market 2020
Meet the Streamers: HBO Max & Quibi Keynotes at Cannes Virtual Film Market
Dedicated Cannes XR Virtual Edition from June 24-26
Screen Moms; Best Movies to Stream on Mother’s Day
Vijay Deverakonda: The Lovable ‘Rowdy’
Sai Pallavi: Natural Beauty is a Natural Actor Too
Cannes Virtual Film Market Registration Opens May 13
COVID-19: Nuggets from Netflix’s Ted Sarandos on Filming and Safety Protocols
Maitreyi Ramakrishnan is New Sensation in Netflix Original Series Never Have I Ever
The Best Movies of 2001-2019 Not Streaming in OTT Platforms
Best Movies of the New Millennium Streaming Now
Best Movies of the New Millennium Streaming Now
Best Movies of the New Millennium Streaming Now
Best Movies of the New Millennium Streaming Now
Best Movies of the New Millennium Streaming Now
Annecy Unveils Virtual Film Festival and Market in June
Roskino to Host Russian Virtual Digital Content Market from June 8
27 Rishi Kapoor Films to Stream at Home Now
Virtual Nab Show Express will Take Place May 13-14, 2020
51 International Film Festival of India, Goa ( 20 -28 November, 2020)
Films to Watch in 2020
Christopher Nolan Films Tenet in Mumbai
A Call From Uttarakhand For Filmmakers Of The World
FFO Rolls Out Red Carpet For Foreign Filmmakers
INDIA@BERLINALE-Indian Cinema’s Voices Emerging
51st IFFI TO Mark Satyajit Ray’s Centenary Celebrations
Infusing Life With Dubbing AT VR Films & Studios
Sailing well in Animation Waters
Berlinale 2020: India’s Laila Aur Satt Geet Selected for ‘Encounters’ Section
Prateek Vats’ Eeb Allay Ooo! in Berlinale Panaroma
Berlinale Shorts: Ekta Mittal’s ‘Gumnaam Din’ to showcase of pain of separation
Berlinale Talents: Seven Indians Make It to the List
My Salinger Year is the Opening Film at 70th Berlinale
GET READY for EUROPEAN FILM MARKET 2020
BERLIN FILM FESTIVAL 2019 WINNERS
Berlinale Forum Celebrates Golden Jubilee in 2020
Berlinale 2020 Poster Unveiled
British Actor Jeremy Irons Will Be the Jury President of Berlinale 2020
Amit Khanna: The Renaissance Man
Fantastic Friend
THE MEDIA GURU-AMIT KHANNA
STRAIGHT ANSWERS FROM AMIT KHANNA
THE DEFINING DECADE -THE 1990s
10 Achievements of Amit Khanna
Reflections on Amit Khanna
Valuable Moments
India Enchants John Bailey
The Big Bachchan of Bollywood
ETERNAL SUPERSTAR: RAJINIKANTH
IFFI 50 & Fantastic-Lifetime Achievement Award to Isabelle Huppert
INDIA’S FLAGSHIP FILM FESTIVAL TURNS 50
BACK IN BUSINESS WITH A BANG
GET THE BEST OUT OF FILM BAZAAR 2019
Transforming Hollywood from pixels to voxels
Government of India committed to Safeguard IP content: Commerce Secretary
Must do Things at AFM
Why India Attracts Foreign Filmmakers
Pickle at MIPCOM 2019
INDIAN COMPANIES AT MIPCOM
Super Audio: Licensed to Thrill
Jungle Book Season 3 Ready
Issuance of VPL in India
Editor’s Note: 44th Toronto International Film Festival Pickle Sept 2019 Edition
The OSCAR RACE begins HERE…
Seven Indian Indie Filmmakers To Watch
Indian Cinema Of Today: A Culturally Responsive Artifact
Indie Resurgence
Indian Films At Toronto a Sparkling Quartet
IFFI Matters @ 50
Four Indian Films at the Toronto International Film Festival 2019
India Pavilion at Toronto International Film Market 2019
Made in Afghan Film ‘Hava, Maryam, Ayesha’ To Compete at Venice Festival
Keerthy Suresh: The Mahanati of Mahanati. Best Actress, National Film Award
Uttarakhand Bags National Award for Most Film Friendly State
66th National Film Awards Winners for 2018
Watan Adds Colour to Indian Independence Day
dream hampton and Brie Miranda Bryant to Feature in MIPCOM’S Women in Global Entertainment Lunch 2019
Making a Song and Dance of it
NFDC Invites Applications for Production of Films in Indian Languages; Deadline September 8, 2019
IFFI Calls for Entry for Indian Panorama in 50th Edition
Ease of Filming in India
Come, Film In Inida
Why TikTok wants to invest $1 billion in India?
Priyanka Chopra’s The Sky is Pink Set to Premiere in 2019 Toronto Internaitonal Film Festival’s Gala Section
Gitanjali Rao’s Animation Feature Bombay Rose to open Critics’ Week at Venice International Film Festival
76th Venice International Film Festival to Open With Hirokazu Kore-eda’s ‘The Truth’
Indian Cinema’s Soft Power Misses the Mark in Nirmala Sitharaman’s Maiden Budget Speech
Shahid’s Kabir Singh Becomes Top-Grossing Film of 2019
Finance Minister Proposes FDI Norm Relaxation in Media
Media & Entrtainment as Champion Sector Figures in the Economic Survey 2018-19
Indian Cinema’s Steady Rise on Global Stage
Glimpses of the future
IFFI Marching Towards 50th Edition
Cannes or Netflix? Is Netflix an acceptable remediation for Cannes’ decades-long little regard for Indian Cinema?
Play Small & Live Long Did Wonders for Me
IFFI Golden Jubilee Edition
GoQuest Media Ventures
Greatest Strength of Indian Films in Emotions: Avtar Panesar
Shooting Locales in India – Uttarakhand
GES: Get, set, go
Preventing COVID Spreads at Film Shoots