Serving as a launching platform for many Indian filmmakers in the past, the 46th Toronto International Film Festival (TIFF) continues to live up to our expectations by showcasing three Indian feature-length films by first-time directors
By Saibal Chatterjee
The 46thToronto International Film Festival (TIFF), which retains the hybrid format that was necessitated in 2020 by a rampaging pandemic, has three Indian feature-length films by first-time directors in an expanded programme that has significantly more titles and in-person screenings than last year.
Besides Payal Kapadia’s A Night of Knowing Nothing, the Critics Week title that scooped up the Cannes Film Festival’s prize for the best documentary film – the Golden Eye – this year, TIFF will premiere sound designer Nithin Lukose’s gripping Malayalam drama Paka: River of Blood and Ritwik Pareek’s piercing social satire Dug Dug.
While the epistolary A Night of Knowing Nothing is part of the festival’s Wavelengths section devoted to avant-garde cinematic works that experiment with forms and genres, Paka and Dug Dug are screening in Discovery, a selection, as the name suggests, aimed unearthing new talent from across the world.
A Night of Knowing Nothing, the FTII-trained Kapadia’s first feature, centres on a university student who writes letters to her estranged lover, revealing through a collage of recollections, personal impressions and experiences the political realities of contemporary India.
Paka and Dug Dug, too, each in its own unique way, provide an insight into today’s India. The former deals with an inter-generational feud between two families in Lukose’s native Wayanad district, against a long history migration and dislocation within the state of Kerala.
Dug Dug, set in Rajasthan, where Pareek grew up before moving to Mumbai, examines the nature of faith and its manifestations in a nation of multiple systems of religious belief. It revolves around an alcoholic man who dies in a gruesome accident while riding his motorcycle in a drunken state. As one strange event leads to another in the aftermath of the tragedy, the deceased turns into the focal point of a rapidly growing religious cult.
Unearthing new talent is a purpose TIFF has served without fail over the years. The festival has helped many Indian independent filmmakers find a doorway to global acclaim. Especially over the last 25 years, North America’s premier film festival, while continuing to embrace mainstream Bollywood cinema keeping in mind the predilections of the south Asian audience in multi-cultural Toronto, has proven to be a wonderful platform for Indian directors crafting films of a different timbre.
Let us cast our minds back to 2001. Twenty years ago, Mira Nair’s Monsoon Wedding won the Golden Lion at the Venice Film Festival, the first Indian film to bag the coveted prize since Satyajit Ray’s Aparajito (The Unvanquished), the second part of the master’s iconic Apu trilogy. Monsoon Wedding also played in TIFF Galas, a line-up that was obviously locked way before the Venice awards were announced.
It was the year of Ashutosh Gowariker’s Oscar-nominated Lagaan, which, too, was part of the TIFF line-up in 2001 alongside Pan Nalin’s Samsara and cinematographer-director Santosh Sivan’s Asoka. Both Nalin and Sivan have had other films in the festival. Incidentally, Everybody Says I’m Fine, the first film directed by Mumbai actor Rahul Bose, also made the TIFF cut that year.
Nalin was back in the TIFF mix in 2013 with the Kumbh Mela documentary Faith Connections and in 2015 with the feminist drama Angry India Goddesses, which took home the TIFF People’s Choice First Runner-up Prize. Sivan, on his part, had two early Tamil-language directorial ventures – a suicide-bomber thriller The Terrorist (1998) and the children’s film Malli (1999) – in the festival programme.
Mira Nair’s first film, Salaam Bombay!, travelled to TIFF in 1988 after bagging the Camera d’Or at Cannes, where it premiered in Directors’ Fortnight. She was back at TIFF in 1996 with Kama Sutra: A Tale of Love. In 2006, one of her most-loved films, The Namesake, starring Irrfan Khan and Tabu, figured in TIFF. Last year, the festival showcased the BBC series A Suitable Boy, Nair’s adaptation of the Vikram Seth novel.
The films by Canadian-Indian filmmaker Deepa Mehta that constitute her acclaimed Elements trilogy – Fire (1996), Earth (1998) and Water (2005) – were all at TIFF. Needless to say, Mehta, who is based in Toronto and was also a member of TIFF’s Board of Directors for several years, has had many of her films, including Bollywood/Hollywood (2002), Heaven on Earth (2008), Midnight’s Children (2012) and Beeba Boys (2015), in the festival programme.
Nair and Mehta have led the way for a long line of Indian female directors who have had a sustained and fruitful relationship with TIFF. The festival programmed Shonali Bose’s directorial debut Amu in 2005. The filmmaker’s subsequent films – Margarita, With a Straw (2014), starring Kalki Koechlin, and The Sky is Pink (2019), headlined by Priyanka Chopra Jonas – made their world premieres at TIFF.
Actor Konkona Sen Sharma’s brilliant first film as a director – A Death in the Gunj – premiered at TIFF in 2016, while writer-director Bornila Chatterjee’s sophomore effort, The Hungry, a provocative and lively adaptation of the rarely filmed William Shakespeare play Titus Andronicus, bowed at the festival in 2017.
The year 2017 also saw Rima Das’ maiden directorial venture, Village Rockstars, being unveiled at TIFF. She was back in Toronto the very next year with Bulbul Can Sing and the year thereafter as part of the festival’s ‘Share Her Journey’ campaign aimed at seeking gender parity in the movie industry.
In the case of Ritu Sarin, who directs films with Tenzing Sonam, the gap between her first and second trips to TIFF was much longer. Sarin and Tenzing’s first film Dreaming Lhasa premiered in Toronto in 2005. They returned to the festival in 2018 with The Sweet Requiem.
Nandita Das’ second film, Manto, was also in TIFF in 2018 after it had world premiered in the Cannes Film Festival’s Un Certain Regard section, a decade after her directorial debut Firaaq was unveiled for a global audience at 2008 edition of TIFF.
In 2019, Gitanjali Rao’s animated feature Bombay Rose played at TIFF. It was the second animated Indian film to make it to the festival after Shilpa Ranade’s Goopy Gawaiya Bagha Bajaiya, also a first feature, in 2013.
Needless to say, numerous male directors from India have had their first or second films premiered at TIFF. Notable among them are Murali Nair, whose hour long feature Marana Simhasanam (Throne of Death) arrived at TIFF after winning the Cannes Camera d’Or in 1999, Shivajee Chandrabhushan’s Frozen, (2007), Dev Benegal’s Split Wide Open (1999), Aamir Bashir’s Kashmiri film Harud (Autumn, 2010) and Sidharth Srinivasan’s PaironTalle (Soul of Sand, 2010).
Goan filmmaker Laxmikant Shetgaonkar’s debut Paltadacho Munis (The Man Beyond the Bridge), a part of TIFF in 2009, won the FIPRESCI Discovery Award. No other Indian film has bagged the prize to date.
VasanBala’s debut film Peddlers (2012) screened at TIFF as part of the festival’s City to City programme. The film had premiered in May 2012 in Cannes Critics’ Week. The director returned to TIFF in 2018 with Mard Ko Dard Nahi Hota (The Man Who Feels No Pain), the first Indian film to make it to TIFF’s Midnight Madness.
Mard Ko Dard Nahi Hota went on to win won the Midnight Madness People’s Choice Award, beating high-profile contenders such as David Gordon Green’s Halloween and Sam Levinson’s Assassination Nation.
Vishal Bhardwaj’s second film as director Maqbool, a reimagining of Macbeth, played in TIFF Discovery, while a film that he scripted, Meghna Gulzar’s Talvar, travelled to the festival in 2015. Irrfan Khan, a principal member of the cast of Talvar, was in attendance at the film’s world premiere.
In 2013, Irrfan had two films in the TIFF official selection – Anup Singh’s Qissa – The Tale of a Lonely Ghost and Ritesh Batra’s Cannes Critics Week entry The Lunchbox.
No discussion about Indian films at TIFF can be complete without a mention of Anurag Kashyap, who has been a regular at the festival since That Girl in Yellow Boots with Kalki Koechlin in the lead, made it to Toronto in 2010. In fact, one of India’s TIFF entries this year, Paka: Throne of Blood, is presented by Kashyap.
In 2011, a film produced by Kashyap, Michael, directed by Ribhu Dasgupta and starring Naseeruddin Shah in the titular role of a retired policeman, travelled to TIFF. Kashyap has since travelled to TIFF with Mukkabaaz (The Brawler, 2017) and Manmarziyaan (2018).
In 2012, TIFF chose Mumbai as the focus of its City to City programme. Nine titles, including the two parts of Kashyap’s Gangs of Wasseypur, made up the selection. The other films screened were Anand Gandhi’s Ship of Theseus, Ashim Ahluwalia’s Miss Lovely, Manjeet Singh’s Mumbai Cha Raja, Hansal Mehta’s Shahid, Mohit Takalkar’s The Bright Day, Dibakar Banerjee’s Shanghai, besides Peddlers.
Mani Ratnam’s Iruvar (1997) and KannathilMuthamittal (A Peck on the Cheek, 2002) screened in TIFF’s Masters section, which has showcased several other Indian filmmakers over the years (Adoor Gopalakrishnan, Buddhadeb Dasgupta, Girish Kasaravalli and Rituparno Ghosh). But the only film by a first-time Tamil director to ever premiere at TIFF is M. Manikandan’s KakaaMuttai (Crow’s Egg, 2014). The film was co-produced by Dhanush and Vetrimaaran.
Another Tamil entry, Suseenthiran’s third film, Azhagarsamiyin Kutharai (Azhagarsamy’s Horse), was at TIFF in 2o11. Significantly, until Lijo Jose Pellissery’s Jallikattu and Geethu Mohandas’s second feature Moothon (The Elder One) premiered in Toronto in 2019, Adoor was the only Malayali filmmaker to be featured at TIFF. NithinLukose is the fourth filmmaker from Kerala to make it into the TIFF league.