The Virtual India Pavilion at Marche Du Film provides Indian delegates with an opportunity to meet and conduct business with leading members of the international film fraternity thus creating a global footprint for Indian Cinema. This is a one point contact for Indians at Cannes. The interactive sessions at the India Pavilion are the sought after ones. The Ministry of Information & Broadcasting, in partnership with FICCI, is organising the India Pavilion.
The objective behind India’s participation at Cannes Film Market is to promote Indian films across linguistic, cultural and regional diversity so as to forge an increasing number of international partnerships in the realms of distribution, production, filming in India, script development and technology, thereby accelerating the growth of the film sector in India.
There are close to 100 online delegates from India at Cannes Film Market this year.
India has audio visual co-production treaties with over 15 countries — Bangladesh, Canada, China, France, Germany, Israel, Italy, Republic of Korea, New Zealand, Poland, Portugal, Spain, UK & Northern Ireland, Bangladesh and Russia.
The 52nd Edition of IFFI 2021 will take place from November 20-28, 2021. The 9-day cinematic feast will embrace the works of a wide variety of filmmakers across the world with masterclasses and knowledge series. Asia’s oldest event of its kind, IFFI still holds on to its pre-eminent position as a showcase of cinematic excellence. IFFI has remained steadfast in its emphasis on showcasing the diversity of Indian cinema as well as in its commitment to the celebration of excellence across movie making genres.
Film Facilitation Office (FFO), set up by the Ministry of Information & Broadcasting, acts as a single point of contact for filmmakers to get all the relevant information about India’s film industry ecosystem, and help them navigate through filming guidelines of key Central government Ministries and State governments. http://www.ffo.gov.in
Marathi cinema is the flavour from India at Cannes. Maharashtra Film, Stage and Cultural Development Corporation has supported half-a-dozen Marathi filmmakers to participate virtually at the Cannes Film Market. It has selected two films to represent at the Cannes Film Market – Ananth Narayan Mahadevan’s ‘Bittersweet’, which examines the plight of sugarcane crop workers; and ‘Mee Vasantrao’ which is the biopic of Vasantrao Deshpande directed by Nipun Dharmadhikari.
6th July 3 pm – 4 pm IST / 11:30 am – 12:30 pm CEST The official opening of the Virtual India Pavilion
7 July 3 pm – 4 pm IST / 11:30 am – 12:30 pm CEST Showcasing International Film Festival of India (IFFI)
5 pm – 6 pm IST / 1:30 pm – 2:30 pm CEST Filming in India
8 July 3 pm – 4 pm IST / 11:30 am – 12:30 pm CEST Co-productions: New markets, New possibilities
9 July 3 pm – 4 pm IST / 11:30 am – 12:30 pm CEST Film Production: Challenges faced & learnt in making global films
10 July 3 pm – 4 pm IST / 11:30 am – 12:30 pm CEST Taking Indian Content to Global Markets: Importance and role of film festivals in the age
With the 58th edition of Cannes’ TV market MIPTV, set to run from April 12, majority of Chinese companies are looking to buy animation content, while at the same time domestic animation studios are on the rise.
Demand for good quality animation content is on the rise in China because of growing numbers of Internet users (990 million in China).
China is now the second biggest spender on television content in the world ($10.9 bn in 2017, according to IHS Markit) – surpassed only by the US.
While a significant proportion of this total (49 per cent) can be attributed to the country’s booming domestic production business, the country’s broadcasters and VOD platforms have also developed a voracious appetite for international coproductions and acquisitions. Online giants Baidu, Alibaba and Tencent have invested $4.5 billion to feed the pipelines of their entertainment platforms.
Jetsen Huashi, director of Jetsen Huashi Wangju Cultural Media Co., Ltd., is looking for high quality animation series for kids at MIPTV.
The company had already purchased 35,000 episodes of teleplays, 15,000 episodes of plays that can be sold overseas legally, and 58 episodes in prime time for satellite TV stations, accounting for 30 per cent of the market share, as well as 300,000 minute cartoons, including 100,000 minute HD
Tao Jia, International Contents, Acquisition. JY Animation Co., China, is attending MIPTV to acquire kids animation contents for 0-6 years old kids.
Qi Yu, vice-president of JY Animation Inc., China will be at MIPTV to buy animation and all kinds of kids contents.
Sean Chu, CEO and founder of Wekids Asia Ltd, China, will take part in MIPTV for high quality animations for kids and international artwork or stories.
Cannes Marché du Film has successfully integrated the online Cannes Film Market as close to the physical market with a clarity on how delegates can navigate and click through various aspects of the world’s largest film market. Over 7700 delegates from 4500 companies have registered (as on June 11) for the five-day virtual Cannes Film Market beginning June 22.
The logistics for the virtual Cannes film market is built with over half-a-dozen tech companies. The film screenings will run on a Cannes Cinando platform (New Zealand’s Shift72 streaming service), while video meetings will take place via the Marché du Film’s German-built (talque) networking app Match&Meet. Italian platform b.square will be used for one-to-one meetings. The Marché has an official partnership with video conferencing platform Zoom, and will also use Vimeo for longer conferences.
Accreditation for the Marché du Film Online will be available for industry professionals at an early bird rate of €95 until June 12 and €195 normal rate after that including one-year subscription to Cinando, the networking platform of the market. The registration can be done at the Cannes Film Market’s official website http://www.marchedufilm.com by clicking “myaccount”.
Jérôme Paillard, executive director of the Cannes Marché du Film in his recent webinar with Screen Talks explained how registered particpants can navigate different parts of the Marché’s virtual meeting place: Sales Agents, Cinemas, Institutions, Cannes Docs, Cannes XR, Conference Programs, and the Petit Majestic (networking place and online concerts/music shows).
According to Marché du Film, over 100 institutions representing film commissions, country pavilions and film agencies have confirmed participation at the Cannes Virtual Market. Majority of the countries who are normally present at physical Village International will set up their online booths at the market. Institutions will be able to design their own national pavilion web page and promote activities, conferences, screen films, do one-to-one meetings and use the Cinando Networking Platform tools.
The presenting partner countries at the Producers Network in Cannes Online Market 2020 are British Film Institute (United Kingdom), Cinema Chile (Chile), Dirección del Cine y Audiovisual Nacional – ICAU (Uruguay), National Film Center of Latvia (Latvia) and Ukrainian Film Institute (Ukraine).
The Producers Network is the go-to place for producers for meetings and is specifically designed to create opportunities to build peer network and get international co-production projects off the ground. The criteria for access to Producers Network is that a producers should have done at least one feature film with a commercial release within the past three years.
Cannes has given access to exhibitor sales agents who have been part of Marche, or regular exhibitors at Berline’s European Film Market and American Film Market. There is clarity on time zones for film screenings. Movies will be screened at the same time of the day in every time zone — 10 AM in Australia, 10 AM in Europe or 10 AM in North America. The Sales Agents representing the movie screenings will have the prerogative to give access to buyers, festivals and market delegates representing various countries. Everyone will be watching the film at their local time.
There are few protocols for market screenings — the viewers have to watch the full film (cannot fast forward), buyers can hop from one screen to another, but when you re-enter the movie has to be watched from the beginning. Also if the movie screening begins at 10 AM, you will be able to re-enter the show only till 11 AM. If you are late by more than an hour, the other option is to get movie link from the sales agent.
Registered delegates will have access to Marché’s digital Welcome Bag, where you can find schedules, trailers, brochures and conference schedules. In the Marché’s home page there is also drop down menu for press rack, where online versions of trade publications and dailies will be uploaded.
For the 14th consecutive year, Pickle will have a special India focused online edition for Cannes Virtual Market 2020. As a run up to the market, there will also be dedicated newsletters and special focus on India participation at Cannes with the objectives of producers, filmmakers, buyers, locales, service providers, market reviews and film screenings.
TikTok, which has emerged as the favourite video sharing platform of Indians despite restrictions from the government and the court, has announced its decision to set up a data centre in India.
TikTok, a rage among youngsters across India, has emerged as a major competitor for YouTube and Facebook videos. With people in India finding it much easier to upload and work with TikTok, it is little wonder why this first Chinese product, which has been successful globally beyond China, wants to make inroads into a huge market like India.
According to a statement from TikTok’s parent company, the China-based ByteDance, “India is one of our strongest markets and we are happy to be part of the mainframe of Digital India in 15 languages. Since the launch of our platforms in India, we have stored the data of our Indian users at industry-leading third party data centres in the US and Singapore…We now believe the time has come to take the next big leap.”
It said: “As a testimony to ByteDance’s recognition of India’s efforts to frame a new data protection legislation, we are taking a significant step towards establishing a data centre in India.”
ByteDance, which also owns the social media platform Helo, added: “We are now in the process of examining options for safe, secure and reliable services for our Indian users within Indian borders.”
The data centre plan is part of the $1 billion ByteDance has recently committed to the Indian market over the next three years. So, why is TikTok is so keen about investing more in India? Sample this: According to a new report from Sensor Tower, a mobile app intelligence firm, users spending on short video-sharing app TikTok reached $10.8 million last month from $1.6 million in June 2018, recording a year-over-year growth of 588 percent.
Also, spending in the app increased 19 per cent month-over-month from $9 million in May. Though growth in spending was driven by users in China, India is TikTok’s largest market where it seeks to make significant returns in the future.
And with its decision to set up data centre in India itself, it looks like TikTok is ready to provide its answers to allegations like it is “anti-national” for its “close relationship” with the Chinese government and it is a “hub” of anti-national content.
HGC Entertainment has acquired the China rights of Viay starrer Mersal from AP International which holds the international rights of the film. Mersal, produced by Thenandal Stuidos Ltd will be the first Tamil film to release in China. Mersal will be dubbed in Mandrarin and likely to release by the end of this year or early 2019.
Mersal is a poignant tale that was the talk of the country because of the questions it raised about the growing apathy in the healthcare sector. The plot resonated with the pan india audience and is also likely to woo Chinese viewers. In recent times Indian film “Dangal,” “Secret Superstar” and “Bajrangi Bhaijaan.” have tasted successes in China. Yash Raj Film’s Sultan is set for release in China on August 31.
Recently, a low-budget comedy with Indian low-cost cancer drugs at its heart is resonating well with Chinese audience, crossing $400 million at the box office. Dying to Survive is based on real life exploits of a small drug store owner, who smuggles generic cancer medication from India to sell to Chinese cancer patients
Produced by TSL and directed by Atlee, Mersal stars Vijay, Samantha Akkineni, Kajal Aggarwal and Nithya Menen in lead characters. Vijay portrays three roles. The background score and soundtrack were composed by the Oscar-Grammy winning A R Rahman.
Incidentally, Mersal is TSL’s 100th movie which went on to become one of the highest grossing Tamil films of 2017 (over $35 million) and also bagged the ‘Asia’s Best Movie of 2017’ at the Bucheon International Film Festival. Affectionately called ‘Thalapathy’, Mersal’s lead Vijay is a new age super star who has a huge fan following and an enviable market presence .
TSL (formerly known as Sri Thenandal Films), is a leading production and distribution company was founded by director Rama Narayanan and has been in existence for four-decades. The company has produced several films like Muni 2, Kanchana, Kanna Laddu Thinga Aasaiya and distributed over 750 films which include many blockbuster movies like Baahubali, Aranmanai, Muni 2: Kanchana amont others.
AP International is a pioneer in South Indian film entertainment for its distribution of Tamil and Malayalam films. AP International has been in the entertainment business for the past six decades and in the distribution business for the past three decades. It is the leading distributor in South India.
AP International has distributed over 1000 films with many of them being blockbusters which include Theri, Kabali, Baahubali, Irudhi Suttru and Vikram Vedha. It is also the single largest copyrights owner of Tamil and Malayalam movies owning copyrights to more than 800 films.
H.G.C. Entertainment Limited is a 15-year old film distribution company in China mainland territory. Its main business being to distribute overseas titles and has distributed Dhoom 3, Mechanic, Eye In The Sky, Hellboy 3. H.G.C has distributed over 600 films i n China. It has set up a wonderful relationship with many international film distribution companies, such as Inferno, Mandate Pictures, Nu Image, Kimmel, Contentfilms, Epic Pictures, Sierra Pictures, Seven Arts Pictures etc. and is into expansion of its business.
Highlighting the escalating cost of health care in China, a low-budget comedy with Indian low-cost cancer drugs at its heart is resonating well with Chinese audience, crossing $400 million at the box office.
“Dying to Survive” has gained remarkable popularity in China pushing the box-office sales in July 37 per cent higher, which according to Bloomberg is the highest level since at least 2010.
That the movie has struck a chord in China is critical, as it addresses the long pressing issue of unaffordable cost of medical care in the country. In an official statement earlier this month, Chinese Premier Li Keqiang cited the movie while making an appeal to the country’s regulators to “speed up price cuts for cancer drugs”.
The movie is based on real life exploits of a small drug store owner, who smuggles generic cancer medication from India to sell to Chinese cancer patients. Many scenes in the movie were shot in Mumbai, from where the drugs are shown being smuggled in ships heading to China.
Diagnosed with leukaemia, Lu Yong was prescribed Novartis-manufactured Gleevec, which costs approximately Rs 2.5 lakh a bottle in China. After spending a fortune on the drug, Lu switched to low cost Indian cancer drug Veenat, costing him approximately one-tenth of Gleevec.
Lu was arrested in 2014 after he made it his life’s mission to help others like him to survive cancer by distributing in China the smuggled Indian drugs.
Off lately, Chinese audience has lapped up Indian releases like Dangal, which are critical of social issues plaguing our society and show a new hope in the face of adversity.
We hope this is the start of a trend that would continue well into the future.
Aamir Khan’s Secret Superstar is well on its way to create history with Chinese box office collection of the Indian musical drama amassing in access of Rs 500 crores in just 10 days of its release in that country, according to reports.
The coming-of-age story of a 14-year-old girl, who aspires to be a singer, struck a chord with the Chinese audiences who have been flocking theatres since the release of the movie on January 19 and has already given big budget Hollywood movies like ‘Star Wars: Last Jedi’ a run for their money, according to Maoyan.com — China’s largest online movie ticketing and fans rating portal.
Comparing the “cultural impact” Amir Khan has had on the Chinese moviegoers with Nobel laureate Rabindranath Tagore, the South China Morning Post says that the Bollywood actor is “on the cusp of overshadowing Tagore’s cultural impact on China” as it goes on to praise the acting and storytelling skills of Khan, who has already charmed his Chinese fans with his movies Dangal, P.K. and 3 Idiots.
Building on the success of Dangal, which managed to secure $194 million in two months from the Chinese market and set a record as one of the highest-grossing Indian films of all time in China, Khan’s Secret Superstar surpassed its India collections in just two days of China release and is all set to dethrone Salman blockbuster Tiger Zinda Hai as 2017’s second highest-grossing Hindi film globally.
Dangal was only the 33th film in China’s history to cross RMB one billion and won rare praise from Chinese leaders including President Xi Jinping for its theme. Most of the Chinese schools recommended the movie to parents and students for inspiration.
Chinese citizens loved the simplistic story of a man struggling to train his daughters to be world class wrestlers in Dangal.
Khan has quickly become one of the most followed Indian celebrity on China’s popular online social networking platforms. He created his first ever account on Weibo, a twitter alternative commonly used in China, which gathered over 26,0000 followers in no time.
He has enthralled Chinese cinephiles for his starring role in 3 Idiots. This movie got popularised through pirated mediums and paved the way for Khan’s commercial success in China.
The almost similar family structure and social sensibilities of the two countries have played an important role for the Chinese people to relate with the story of Dangal. The movie introduces the particular dimensions of women’s empowerment and is celebrated for being one of the most progressive movies coming out of the Indian subcontinent.
Directed by Advait Chandan and produced by Khan and his wife Kiran Rao, Secret Superstar has teenage actress Zaira Wasim in the lead role.