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Siddharth Roy Kapur

Siddharth Roy Kapur Decodes Future of AVGC

admin   August 25, 2021

It has been a tough time for the film industry in particular the last couple of years with theaters being shut across the country. But the bright spark is obviously been the OTT platforms for making it much more accessible for audiences who’ve been in such desperate need of entertainment over the last two years, said Siddharth Roy Kapur, Co-Chairman, CII National Committee on Media & Entertainment , President – Producers Guild of India, and Founder & Managing Director of Roy Kapur Films.

Speaking at the CII Summit FX 2021, he said, “I think a lot of us in the film industry are scratching our heads and wondering what the future will hold. Now that such convenience has been so widely available to people and they’re so used to it at their fingertips, what does the future of theatrical entertainment really look like?”

He said that a big screen theatrical experience are really things that the film industry needs to focus on when it comes to creating content for the big screen. “And of course, intimate dramas and relationship movies and light comedies, etc., are more likely to be consumed on OTT platforms in the future,” he added.

According to Kapur, “And that, therefore brings me to the AVGC part of it. If we have to make these big ticket entertainers, which involve new worlds, fantasy, magic, realism, VFX, all those things that make a big screen experience really compelling, I think it’s important for filmmakers to really be able to embrace this technology and realise what it can do for their storytelling, I have to admit that the level of training in the industry, when it comes to being able to use these tools is still very, very low. And I think if we really have to move forward as a creative industry, we know we’ve got the skill sets, we know we’ve got the people to actually get the work done, but it’s about the creators embracing this as a way to tell their stories.”

Giving an example of what he meant in terms of training and skill development, he said, “I got the creator of Narcos, a show that is a global hit on Netflix down to talk to our writers and directors here in India about how to structure a series, because we’re used to making movies. And then we’re used to making daily soaps. And we haven’t ever been used to making premium quality digital content. That’s a confluence of both these, the quality of a film, but the length of storytelling and the breadth of storytelling that a series involves.”

Kapur said Narcos creator was very appreciative of the talent and he felt that there was a lot of great talent in the room. “But he did say that as with most things in India, we realise we are skipping multiple generations of growth. We are going straight from daily soaps and movies into creating long form digital premium content.”

He went on to add: “I think if there is one thing that I think that we need to focus on, it is skill development in training. When it comes to our creative people, we should be able to give them the opportunity to use the tools available to them today to be able to fly and tell the stories that they have to tell. So if there’s anything that we can do going forward in that regard, I think that’s where our focus and our attention should be. Because there are stories from India that we can take to the world and get the world to resonate with.”

Kapur concluded by saying that we need to have a Parasite, we need to have a Crouching Tiger Hidden Dragon, we need to have our movies that are able to go out into the world and do the sort of business and create the sort of popular culture and soft power that so many other countries have managed to do. “I’m sure we will do it. But it needs to happen in a more structured way. And not by default, but by design.”


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Indian Films At Toronto a Sparkling Quartet

admin   August 29, 2019

India’s ‘fabulous four’ in the 44th Toronto International Film Festival represent exciting and distinct cinematic voices. These films, three of which will be world premiering in TIFF, have compelling stories, employing methods that stem from unique sensibilities. At one end
is the story of a real-life urban couple learning life lessons from a terminally ill but spirited daughter (Shonali Bose’s The Sky is Pink) and at the other a tale of a buffalo that escapes from its butcher-owner and sparks a frenzy in a small town in Kerala (Lijo Jose Pellissery’s Jallikattu),
The other two Indian films present divergent takes on Mumbai: Gitanjali Rao’s animated feature Bombay Rose and Geetu Mohandas’ gritty yet life-affirming drama Moothon (The Elder One).

It is a strong year in TIFF for Indian female directors. Three of the titles in this quartet have been directed by women. That apart, Priyanka Chopra, who toplines the cast of The Sky is Pink, is one of the four Indian ambassadors of TIFF’s ‘Share Her Journey’ campaign, which is aimed
at promoting gender parity in the movie industry both in front of and behind the camera. The other three are filmmakers Mira Nair, Deepa Mehta and Rima Das. Das’s last two films (Village Rockstars and Bulbul Can Sing) premiered in TIFF. She will be attending the festival this year too, to take part in the campaign launched in 2017, the year she debuted here.

THE SKY IS PINK by Shonali Bose

THE SKY IS PINK by Shonali Bose

Cast: Priyanka Chopra Jonas, Farhan Akhtar, Zaira Wasim, Rohit Saraf
Producer(s): Ronnie Screwvala, Siddharth Roy Kapur

Shonali Bose’s The Sky is Pink, which also features Farhan Akhtar and Zaira Wasim in stellar roles, is part of the festival’s Gala Presentations. Bose is a TIFF veteran. Each of the three films that she has helmed has screened in North America’s premier festival.The Sky is Pink is scheduled for release on October 11, a month after its world premiere in TIFF on September 13.

The poignant film portrays 25 years in the life of a married couple whose relationship is depicted from the perspective of their just-deceased teenage daughter. It is inspired by the tragic true story of Aisha Chaudhary, who was diagnosed with severe immune-deficiency and had to battle through every day of her life for survival. But even as she counted her days, she never stopped living in the moment. She became a motivational speaker and wrote a book that was published a day before her death.

Bose’s first two films, Amu (2005) and Margarita with a Straw (2015), both critically acclaimed cinematic essays drawn from real life, also played in Toronto.

Shonali Bose

India | 2019 | Hindi WORLD PREMIERE 134 minutes

Director | Shonali Bose

Cinematography | Kartik Vijay, Nick Cooke, Andrew Litt, Andre Menezes, Ravi Varman

Editing | Manas Mittal

Executive Producers | Nilesh Maniyar, Deepak Gawade, John Penotti, Michael Hogan, Robert Friedland

Production Companies | Roy Kapur Films, RSVP, Ivanhoe Pictures, Purple Pebble Pictures

Production Designer | Aradhana Seth

Screenplay | Shonali Bose, Nilesh Maniyar

Sound |Anish John

Distributor | RSVP

BOMBAY ROSE by Gitanjali Rao

BOMBAY ROSE by Gitanjali Rao

Cast: Cayli Vivek Khare, Amit Deondi, Gargi Shitole, Makrand Deshpnde
Producer(s): Rohit Khattar, Anand Mahindra

At the other end of the India’s TIFF spectrum this year is Gitanjali Rao, a globally celebrated animation filmmaker who has carved her own niche in a nation where animated films are not only rare but are also usually seen as entertainment meant only for children. She employs the medium to tell complex, layered stories about her city and its people, especially those who need to retreat into dream worlds to escape the soul-destroying urban grind that they must inevitably undergo on a day-to-day basis.

Rao’s first feature, Bombay Rose, which has made TIFF’s Contemporary World Cinema cut, arrives in Toronto from Venice, where it was the opening film of the Critics Week. The film looks at street-dwellers who live on the margins of the megapolis. “I have always wanted to tell stories,” Rao says in her director’s note, “about the unsung heroes who live and love in Mumbai, never become success stories, yet their struggle for survival makes heroes out of them.” Bombay Rose is composed of frame-by-frame painted animation, a painstaking process that took all of two years.

Bombay Rose is only the second Indian animation film to screen in TIFF. In 2103, Shilpa Ranade’s Goopy Gawaiya Bagha Bajaiya made it to the festival programme.

Gitanjali Rao

India, United Kingdom, Qatar, France, 2019 | Hindi NORTH AMERICAN PREMIERE 93 minutes

Director | Gitanjali Rao

Editing |Gitanjali Rao

Executive Producers | Deborah Sathe, Tessa Inkelaar, Charlotte Uzu, Serge Lalou

Production Companies | Cinestaan Film Company, Les Films d’Ici

Animation Studio | Paperboat

Production Designer | Rupali Gatti

Screenplay | Gitanjali Rao

Sound | P.M. Satheesh

MOOTHON by Geetu Mohandas

MOOTHON by Geetu Mohandas

Cast: Nivin Pauly, Sobhita Dhulipala, Shashank Arora
Producer(s): Anurag Kashyap, Vinod Kumar, Ajay G. Rai, Alan McAlex

Mumbai also plays a key role in actress-turned-filmmaker Geetu Mohandas’ Malayalam-Hindi bilingual film, Moothon (The Elder One), which revolves around a 14-year-old Lakshadweep island boy, Mulla, who travels at great personal risk to the bustling city to look for his big brother, Akbar, armed only with a phone number. The film follows the parallel arcs of the two siblings while it focuses on the hope and despair that they have to grapple with in a city where life can be rough when the guards are down.

Although Mohandas is a TIFF first-timer, her maiden feature, Liar’s Dice (2013), had premiered in the Sundance Film Festival and was India’s official nomination for the Oscars.

Moothon, which has Nivin Pauly, Sobhita Dhulipala and Shashank Arora in key onscreen roles, is co-produced by Anurag Kashyap, who has also penned the Hindi dialogues of the film. For Kashyap, TIFF is a bit of an annual ritual. His last two films, Mukkabaaz and Manmarziyaan, were both in the festival.

Geetu Mohandas

India | 2019 Malayalam, Hindi WORLD PREMIERE 110 minutes

Director | Geetu Mohandas

Cinematography | Rajeev Ravi

Editing | Ajithkumar B., Kiran Das

Production Companies | JAR Pictures, Mini Studio

Production Designer | Abid T. P.

Screenplay | Geetu Mohandas

Sound | Kunal Sharma

Original Score | Sagar Desai

JALLIKATTU by Lijo Jose Pellissery

JALLIKATTU by Lijo Jose Pellissery

Cast: Antony Varghese, Vinayakan, Sabumon Abdusamad
Producer(s): O. Thomas Panicker

Lijo Jose Pellissery, one of the most exciting flag-bearers of the new Malayalam cinema, is in this year’s lineup with Jallikattu, based on a short story, Maoist, written by S. Hareesh. The maker of Angamaly Diaries and Ee.Ma.Yau focusses on a butcher’s buffalo that flees from his owner’s clutches on the eve of its planned slaughter. As the people of the town in Kerala’s Idukki district set out to recapture the animal, dormant animosities bubble to the surface and unleash unsettling violence. Like his previous two film, Lijo’s new outing blends heady energy with an unwavering sense of formal cinematic proportion.

Jallikattu – the title is derived from the ancient Tamil bull-running tradition that has sparked much debate in recent times – allows for a deep dive into the heart of a politically volatile state that, pretty much like the people in the story that the film narrates – are increasingly being divided along destructively emotive lines.

Lijo Jose Pellissery

India | 2019 Malayalam WORLD PREMIERE 91 minutes

Director | Lijo Jose Pellissery

Cinematography | Gireesh Gangadharan

Editing | Deepu Joseph

Production Company | Opus Penta

Production Designer | Gokul Das

Screenplay | S Hareesh, R Jayakumar

Sound | Renganath Ravee

Publicist | Opus Penta

Original Score | Prashant Pillai