The policies of the Ministry of Information & Broadcasting, Government of India, are fully geared towards realising the complete potential of the M&E sector by forging global partnerships and providing an enabling environment by lowering market barriers and propelling growth
In the rapidly changing global media and entertainment landscape, India has emerged as a window of opportunity to position itself as a hub for audiovisual services for the rest of the world. Media and Entertainment is one of the champion sectors supported by the Government of India. The incentives for the audiovisual services that closely match the sops given by various other nations are already finalised by the Ministry of Information & Broadcasting. They are waiting for the appropriate time to announce incentives that is set to handhold industry in the aftermath of Covid-19 pandemic.
India has probably one of the most liberal investment regimes in the media and entertainment, information and communication sector amongst the emerging economies with a conducive foreign direct investment (FDI) environment and ease of doing business.
Digitization and the growth of the internet are reducing many barriers to market entry and creating opportunities for smaller companies’ offering skills and services in new forms of content creation for various platforms.
In the current scenario, the Indian animation (IPs included) and VFX Services have gained a lot of traction among the international producers and production houses. In the following pages we have curated 15 animation co-production projects seeking partners at Annecy/MIFA 2021.
In the aftermath of coronavirus pandemic, Indian media, entertainment and technology services are witnessing new growth opportunities on the back of growing offshore services domain, especially in animation, VFX, gaming, AR/VR and digital media, among others.
Many companies have created top-end studio facilities in India that serve as single windows to fulfil the needs of the M&E industry (Technicolour India, Deluxe). Their international business model offers local and remote clients the opportunity to produce and co-produce and distribute content anywhere around the world.
Media & Entertainment sector has been supported by the Government of India as one of the champion sectors with immense potential of growth both within and outside the country. Media and Entertainment is also among the sectors that clearly has made an impact of Make in India, Show the World. For services it is Make in India, Serve the World.
The role of the Ministry of Information & Broadcasting is to facilitate the industry to create jobs and growth for the sector. The government’s efforts are driven towards creation of forums and forge partnerships to keep the momentum going.
Content produced for Indian media sectors holds tremendous potential for global consumption. With a significant diaspora population residing overseas, Indian content is a key tool for these communities to connect with their cultural roots.
The Indian film industry is fairly unique in the world. The country, along with America and China, is among the few that can sustain their industry domestically. You can make a film just for India, or even one region within India. Once when the Government gives green signal to open theatres there are over 83 films waiting to be released in India. OTT players like Amazon Prime, Netflix, Disney + Hostar, ZEE5 have brought in a transformation in expanding Indian content reach to over 100 territories across the world.
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, Russia. It is now possible for filmmakers of different countries to come together and make films under bilateral co–production agreements. Co-productions under these agreements are more beneficial to filmmakers than a purely commercial partnership between two individuals or entities. New markets and audiences would be available for the product, especially if collaborations and partnerships are between nationals of different countries.
The Ministry of Information & Broadcasting is currently finalising incentives for co-production, filming under the champion sector scheme. In addition to films, TV Series, Web Series, Animation will be also be included in the co-production projects.
The Augmented and Virtual Reality, the two spectrums of immersive technology, will form the next frontier of growth for the M&E industry. For India, AR/VR can open up new creative avenues. According to a report, the Indian AR/VR market is expected to grow at a CAGR of 76 percent over the next five years, fuelled by demand from business and consumer sectors. The past few years have witnessed the emergence of over 200 AR/VR start-ups in the country. Bengaluru and Hyderabad take the lead, attracting a big chunk of these start-ups, followed by Delhi and Mumbai. Among states, Karnataka and Telengana are actively promoting AR/VR startups by providing incubation, mentoring, idea validation by experts, opportunities to deploy pilots with various departments, along with fund support for eligible ones. This was the major takeaway at the recently concluded Global AVGC Summit FX 2020 organised by the Confederation of Indian Industry.
Dinesh Gupta, Director and Co-Founder at Sacom in one of the the recent Pickle columns mentioned massive growth opportunities in video gaming. Statista’s Global Digital Market Outlook pegs the digital media market at US$ 172,502mn in 2020 with a 9.8% year-on-year growth projection. This forecast was adjusted for expected global impact of Covid-19 pandemic. Video Games share with a projected market volume of US$ 92,633 mn and 11.41% growth over previous year dominates the digital media market with a close to 54% worldwide share. This makes the Video Games industry much bigger than Video-on-Demand, ePublishing and Digital Music put together. Majority of the revenues for video gaming are contributed by mobile gaming which is likely to contribute as much as 60% in 2020.
National Film Development Corporation’s Film Bazaar has created a climate in which young filmmakers can dare to attempt transcending geographical boundaries.
As an incubator of new film projects in India and the rest of the subcontinent, the NFDC Film Bazar Goa, now in its 14th year, has rendered yeoman service by engendering an eco-system that allows originality to thrive while not losing sight of tried and tested ground rules that have proven beneficial. This year Film Bazaar will take place in virtual format.
It isn’t surprising, therefore, that many of the subcontinent’s most applauded and well-travelled contemporary films have taken shape – and wings – on this platform that has made mentoring and networking facilities available to them. Think Ritesh Batra’s The Lunchbox, Chaitanya Tamhane’s Court, Paobam Paban Kumar’s Loktak Lairembee and Ashim Ahluwalia’s Miss Lovely and you cannot help but recognise the assistance that these acclaimed Indian films have received at the Film Bazaar where buyers, sellers, festival programmers and producers converge in search of the next lot of support-worthy films.
It isn’t unusual for veteran screenwriters and directors (such as Govind Nihalani and Kamal Swaroop) to turn up in this dynamic marketplace with the intention of exploring co-production possibilities. The Bazaar is numerically dominated by younger filmmakers, a large percentage of them being first-timers.
Film Bazaar Goa is held on the sidelines of the International Film Festival of India (IFFI), but it is a hub of activity so intense that it often overshadows the main event. The greatest strength of the Bazaar is the youthful energy that propels it and the range and depth of international participation that the annual event commands. The result is a space where a free exchange of ideas and synergies take place and yields salutary results.
Filmmakers from across the subcontinent have benefitted immensely from the time and energy they have spent in Goa in reaching out to the world and pushing their ideas, films and screenplays. A majority of Indian films that have played in the leading international festivals – The Lunchbox, Miss Lovely, Titli, Chauthi Koot, Thithi, Killa and Ship of Theseus, to name only a few – have participated in Film Bazaar at crucial stages of their development.
Assamese director Bhaskar Hazarika’s Aamis (Ravening) was part of the Film Bazaar’s Co-Production Market in 2017. It returned to the Viewing Room – Film Bazaar Recommends in 2018 and went on to screen in the Tribeca Film Festival in 2019. Geetu Mohandas’ Moothon (The Elder One), which had its world premiere at the 2019 Toronto International Film Festival (TIFF) in September, opened in Indian multiplexes in the second week of November.
The film had started its journey in Film Bazaar’s Co-Production Market in 2016 (the title back then was Insha’allah). Moothon was in the Work-in-Progress (WIP) Lab the very next year alongside several other Indian films that got picked by international festivals – Ere Gowda’s Balekempa, Dominic Sangma’s Garo-language Ma’Ama and Ivan Ayr’s Soni.
Geetu Mohandas, an actress-turned-filmmaker also owes the rise of her debut film, Liar’s Dice, to Film Bazaar. The film was in the Co-Production Market in 2011. It premiered in the MAMI Mumbai Film Festival in 2013 before being screened in the Sundance Film Festival and 2014. Liar’s Dice was India’s official nomination that year for the Best Foreign Language film Oscar.
Besides a host of films that have come out of the country’s many filmmaking centres, projects conceived and developed in Mumbai have enjoyed a lion’s share of the spoils in Film Bazaar. The most notable among them is The Lunchbox. After its world premiere in Cannes Critics’ Week in 2013, it travelled to TIFF and Karlovy Vary.
The Lunchbox was distributed in more 50 countries – a record for an independent Indian film. Interestingly, the Film Bazaar has over the past decade and a bit mentored films that have subsequently taken on commercial trappings and gone on a different tangent. Sharat Katariya’s Dum Laga Ke Haisha, starring Ayushmann Khurrana and Bhumi Pednekar, which came to Goa as a work in progress, went mainstream with Yash Raj Films throwing its weight behind the film.
Films such as Shanghai and Nil BatteySannat, among others, have found similar theatrical outlets. In the case of Alankrita Shrivastava’s Lipstick Under My Burkha, Prakash Jha Productions was involved from the very outset. It was part of Film Bazaar’s WIP Lab in 2015. Completed in 2016 and released in 2017 after a protracted run-in with the censors, the film earned critical accolades and substantial commercial success.
Gitanjali Rao’s animation film Bombay Rose has had the longest gestation of all the titles that have emerged from the Film Bazaar. It was in the Screenwriters’ Lab in 2015, the Co-Production Market in 2016 and the WIP Lab in 2017. In 2019, it premiered at the 76th Venice Film Festival and then travelled to TIFF, Busan International Film Festival and BFI London Film Festival. It is now scheduled to screen in the Doha Film Institute’s Ajyal Film Festival and Marrakesh International Film Festival.
Not every film that participates in the Film Bazaar soars into the stratosphere. In fact, a chunk of the entries that have been listed on the Viewing Room roster run into dead-ends. But that does not diminish the significance of the exercise. Over the last decade, almost every film that is regarded as fine specimen of Indian indie cinema – among them Nagraj Manjule’s Fandry, Rahi Anil Barve’s Tumbbad, KanuBehl’s Titli, Shanker Raman’s Gurgaon, Pushpendra Singh’s Ashwatthama, Amit V Masurkar’s Newton, Devashish Makhija’s Bhonsle, Dipesh Jain’s In the Shadows and RidhamJanve’s The Gold-Laden Sheep & the Sacred Mountain – is a Film Bazaar product. The event helps these filmmakers not only to evolve into outstanding films but also to find a place on the radar of the spotters that are sent out by major festivals.
In a nation that produces more films than any other in the world, Film Bazaar has created a climate in which young filmmakers can dare to attempt transcending geographical boundaries. The Mumbai movie industry in particular is notoriously insular and cannot see beyond box office collections. But filmmakers working outside the pale of the mainstream are compelled to think of the wider world – the Film Bazaar fulfils that needs admirably, helping independent filmmakers engage with the world on an equal footing.
One of the biggest contributions of the Film Bazaar is manifested in the support it has extended to filmmakers from other countries of the subcontinent. Bangladesh’s Mostafa Sarwar Farooki, Rubaiyat Hossain and Golam Rabbany Biplob, Sri Lanka’s Prasanna Vithanage and Prasanna Jayakody, Pakistan’s Mehreen Jabbar and Sabiha Sumar, Nepal’s Deepak Rauniyar, Bhutan’s Khyentse Norbu and Afghanistan’s Siddiq Barmak have been part of the Film Bazaar over the years.
No wonder, for indie filmmakers in this part of the world, all roads lead to Goa come November.
Film Bazaar, held alongside the International Film Festival of India (IFFI) every year, has grown into an annual converging point for buyers and sellers from across the world. It provides an inspiring and creatively enriching environment for film industry professionals and enable them to explore possibilities of collaboration with the larger international filmmaking community
South Asia’s Global Film MarketFilm Bazaar is NFDC’s film market held alongside the International Film Festival of India (IFFI) every year at the Marriott Resort, Goa, India. This year the bazaar will be held from 20-24 November.
Film Bazaar, presently in its 13th year, has grown into an annual converging point for buyers and sellers from across the world. With its focus set on discovering, supporting and showcasing South Asian content and talent in filmmaking, production and distribution; the Bazaar also facilitates the sales of world cinema in the South Asian region. Since its commencement in 2007, the Film Bazaar is organized to provide an inspiring and creatively enriching environment for film industry professionals and enable them to explore possibilities of collaboration with the larger international filmmaking community. The market is structured to offer training & support to film industry professionals for projects that may be in early to advanced stages of development. Over the years, films such as The Lunchbox, Margarita With A Straw, Chauthi Koot, Qissa, Ship of Theseus, Titli, Court, Anhey Ghorhey Da Daan, Miss Lovely, Dum Lagake Haisha, Liar’s Dice, Bombay Rose, Thithi, Moothon to name a few, have been through one or more programmes of the Bazaar.
The Co-Production Market is a platform for curated projects with South Asian themes to find financial and artistic support. Every year, filmmakers with projects selected for the Market get numerous avenues to connect with Indian and international producers, distributors, sales agents and financiers active in the field of co-production. This year’s selection presents 14 projects from India, Bangladesh, Bhutan, France, Nepal, Singapore and USA. The line-up is an eclectic mix of stories in Hindi, English, Bengali, Malayalam, Assamese, Nepali, Dzongkha (Bhutanese) and Gujarati from established filmmakers as well as new talent.
The Viewing Room aims to present films seeking finishing funds, world sales, distribution partners and film festivals. This is the bazaar’s headliner segment responsible for showcasing unreleased films from the larger Indian independent film industry. The films are viewed on individual computer terminals in private booths via specially designed Viewing Room software. Festival programmers, distributors, world sales agents and investors can watch complete films as well as films that are work in progress. The Viewing Room allows access only to buyers, financiers, world sales agents and festival programmers. The three major categories of Viewing Room are Film Bazaar Recommends (FBR), Film Library (FL) and Short Films (SF). This year total number of film submitted – 214.
Selected projects are given an opportunity to seek editorial feedback from an eminent panel of international mentors, which include film festival directors, producers, world sales agents and editors. These advisors provide valuable feedback on the edit of the film with aim of helping the filmmaker achieve an accomplished final cut of the film. The Work-in-Progress Lab is open only for fiction features aiming for a release. A maximum of five films are selected for this Lab.This year the selection will be announced on November 1, 2019.
The Producers’ Workshop is an extensive five-day, closed-door programme designed for no more than 20 producers to cover all aspects to mobilize a film project for aspiring producers (entrepreneurs/filmmakers). The workshop is optimal for delegates/participants who bring in their projects. Over the course of the workshop, industry professionals and experts from across the globe share their insights on different facets of producing films i.e. pitching, funding, development, budgeting, film markets, rights management, round table mentoring & distribution in closed door sessions. How to make the project “Pitch-ready” is one of the “deliverables” and key take-away for each participant at the workshop.
Knowledge Series bring together the brightest creative and business minds from the film industry across the world
A programme much looked forward to and attended in full strength by attending delegates, the Knowledge Series is carefully curated series of lectures and interactive panel discussions on pressing and key issues, opportunities and trending conversations in the industry by inviting leading film industry experts from around the world to speak at the programme. All the film bazaar delegates and the guest will be part of the Knowledge series.
Filmmakers can book screenings in specially set up digital theaters at the market for a select audience of sales agents, film festivals, distributors and producers. Filmmakers are allowed to send invites to participating delegates and run their own promotions.
In keeping with the vision of building deeper alliances with the global counterparts, have – Tourism Bodies and Film Commissions (Indian and International) to showcase locations available for filming and incentives offered by various State Tourism boards.
Behind the silver screen empowering the aspirants – This is a specialised workshop which is being introduced this year for students of film schools. There will be 2 sessions of 90 mins each on all the 4 days covering various aspects of filmmaking.
Students producers workshop – This is a specialised intensive 4 day workshop for film production students of SRFTI and Whistling Woods International.
NFDC organises the Film Bazaar from the 20 – 24 November,
every year at the Goa Marriott Resort. South Asia’s global Film Market, the
Film Bazaar is a platform exclusively created to encourage collaboration between
the international and South Asian film fraternity.
The Bazaar is focused on discovering, supporting and
showcasing South Asian content and talent, in the realm of filmmaking,
production and distribution.
A converging point for film buyers and sellers from all over
the world, the Bazaar also aims at facilitating the sales of world cinema in
the South Asian Region.
Film Bazaar has evolved into a one-stop shop for filmmakers,
producers, sales agents, distributors, film festival programmers and financiers
from around the world; a marketplace that encourages collaboration between the
South Asian and international film fraternities.
2018 saw over 1000 delegates from around 38 countries attend
the event. The 13th Edition of Film Bazaar will be held from 20th-24 November
2019 at the Marriott Resort in Goa, India.
The Co-Production Market is a platform for curated projects
with South Asian themes to find financial and artistic support.
Every year, filmmakers with projects selected for the Market
get numerous avenues to connect with Indian and international producers,
distributors, sales agents and financiers active in the field of co-production.
Since 2007, the Co-Production Market has consistently
brought out notable projects.
In 2018, the market showcased 19 South Asian projects from 7
The Co-Production Market will be held between 20 – 24th
November, 2019 at Film Bazaar, Goa.
■ Project can be from any country dealing with a South Asian theme
■ Project must be a new feature-length fiction film (min 70 minutes)
■ Project must have both director and producer attached
■ Project must have 25 per cent of the finance in place
■ Projects that have started principal photography are not eligible
The Knowledge Series consists of specially curated
presentations, lectures and panel discussions with key decision makers and
market drivers of the film industry.
Over multiple sessions during the four days of Film Bazaar,
the Knowledge Series covers a wide range of topics including (but not limited
to) the evolution of content through changing socio–economic structures,
expanding genres, conventional and innovative platforms of distribution,
various emerging co-production possibilities, international collaborations and
treaties, and the art of navigating various film festivals and markets.
The Viewing Room aims to present films seeking finishing
funds, world sales, distribution partners and film festivals.
The films are viewed on individual computer terminals in
private booths via a specially designed Viewing Room software. Film
programmers, distributors, world sales agents and investors can watch complete
films as well as films that are awaiting completion. They can access details
about the respective projects as well as contact the filmmakers through this
To create a more user-friendly experience, viewers can
choose to view the films on the basis of parameters like duration, language,
stage of completion, type and festival history among others. Investors can also
choose to view films which have applied specifically for finishing funds.
The Viewing Room allows access only to buyers, financiers,
world sales agents and festival programmers.
■ The Viewing Room is open to all films from India and South Asia
■ The films can be of any length and genre
■ The films can be complete or in any stage of post-production
■ Ideally, these films should be seeking finishing funds, world sales,
distribution partners and/or film festivals
■ The last date of submission of completed applications is September
Introduced in 2014, Film Offices, provide State Tourism
bodies a platform to showcase their locations and incentives to filmmakers
attending Film Bazaar.
Since Film Bazaar is attended by directors, producers,
financiers, distributors, sales agents and film festival programmers from
across the world, Film Offices is a great opportunity for Tourism bodies to
connect with the Indian and International film fraternity. It brings to
filmmakers the world of picturesque locations from across India, that would fit
into their scripts and add value to their films. The aim is to ensure that the
Film Offices are able to pitch their locations to all leading filmmakers.
The Film Offices connect the State Governments with industry
stakeholders such as Indian and International Producers, Indian Directors and
Industry Executives from India and abroad, through structured meetings and
participation in the Knowledge Series. The States through their Film Offices,
highlight their film policy and their endeavor to make filming a smooth affair,
showcase their locations and acquaint the filmmakers and the fraternity about
the incentives/rebates/subsisdies offered for filming in their respective
jurisdictions. The Industry on the other hand, gets an opportunity to sensitize
the State Governments with regard to the to the needs of the film industry, the
various challenges faced by them during filming in locations and the consequent
economic impact that film shootings have on the local economy.
This initiative, is in collaboration with the Film
Facilitation Office and is of mutual benefit to both the filmmaker and the