Every year, the French Riviera glitters with glamour as the Cannes Film Festival unfolds. Considered one of the most prestigious film festivals globally, Cannes serves as a launchpad for international cinema. From established auteurs to rising stars, filmmakers vie to showcase their work, hoping to capture the coveted Palme d'Or and the world's attention.
The 2024 Cannes Film Festival dazzled with an unprecedented Indian presence. A record-breaking eight Indian films graced various sections of this prestigious event, showcasing the vibrant tapestry of Indian filmmaking and its growing global recognition.
Headlining this historic moment was Payal Kapadia‘s All We Imagine As Light. This poignant Mumbai-set story that explores themes of connection, loneliness, and self-discovery, capturing the essence of urban life with emotional clarity, secured the coveted Grand Prix, marking the first time since 1994 that an Indian film has competed for the top prize. The film's dreamlike atmosphere, powerful performances, and exceptional direction garnered well-deserved praise. Beyond the Competition section, a diverse range of Indian films stole the spotlight.
The Un Certain Regard section (In Some Perspective), which recently shifted its focus to return to more experimental up-and-coming arthouse directors, presented two films connected with India.
Sandhya Suri’s Santosh, is an engaging and thought-provoking film that offers a nuanced exploration of the Indian justice system and the moral compromises within it. With strong performances and assured direction, UK-based Suri's debut feature is a noteworthy addition to the genre of police procedurals. The politically charged screenplay deftly weaves in social commentary without resorting to heavy exposition.
The Shameless, an Indian story directed by Bulgarian filmmaker Konstantin Bojanov, offered a captivating outsider's perspective. Renuka, a fugitive sex worker, and Devika, destined for prostitution, embark on a perilous journey to escape their oppressive fates and forbidden love.Anusuya Sengupta's Best Actress-winning portrayal of Renuka stood out, bringing depth and authenticity to the character. This film exemplified the international appeal of local stories, even when presented through a fresh, global lens.
A whirlwind of dark humour and social commentary, Sister Midnight exploded onto the scene at Cannes' prestigious Director's Fortnight. Radhika Apte delivered a phenomenal performance as Uma, a new bride grappling with the claustrophobia of arranged marriage in Mumbai. Director Karan Kandhari masterfully crafted a world that seamlessly blends these elements, leaving audiences both amused and unsettled. Apte shone with physical comedy, showcasing Uma's initial awkwardness morphing into simmering rebellion. This distinctive Hindi film, directed by UK-based Kandhari, is a must-see for those seeking a thought-provoking and wildly entertaining experience.
The future of Indian cinema gleamed brightly at Cannes, with two Indian student films bringing home La Cinef awards. Chidananda S Naik's Sunflowers Were The First Ones To Know, a captivating tale from the Film and Television Institute of India (FTII), Pune, secured the prestigious La Cinef First Prize. This thought-provoking film explores the consequences of a stolen rooster that throws a village into chaos, forcing an old woman's family into exile. Mansi Maheshwari's animated film Bunnyhoodsecured third place in the La Cinef competition.
The 2024 Cannes Film Festival dazzled with an unprecedented Indian presence. A record-breaking eight Indian films graced various sections of this prestigious event, showcasing the vibrant tapestry of Indian filmmaking and its growing global recognition
Born in Meerut and a former NIFT Delhi student, Maheshwari created the film while studying at the UK's National Film and Television School. Her heartwarming story explores a young girl's discovery of a hidden truth.
A notable contingent of social media influencers also made their mark on the festival. This sparked discussions about the evolving landscape of cinema and the role of online content creators. While some questioned whether it might overshadow the artistic merit of the films, it undeniably generated a different kind of buzz
These awards solidified the depth of talent within the upcoming generation of Indian filmmakers, showcasing their ability to tell impactful stories that resonate on a global stage. La Cinef, an Official Selection of the Festival de Cannes, showcases and promotes outstanding films from film schools, highlighting emerging talent in fiction and animation.
Another independent filmmaker who got recognition at Cannes was Maisam Ali, also a FTII alumnus. His film In Retreat was screened at the Association for the Diffusion of Independent Cinema (ACID)Cannes sidebar programme. It was the first time an Indian film was screened in the section run by the ACID, since its inception in 1993.
Cannes Classics paid tribute to a cornerstone of Indian cinema with Shyam Benegal's Manthan.
The screening became a vibrant bridge to the present, boasting the presence of legendary actor Naseeruddin Shah, who starred in the film, and his wife Ratna Pathak Shah. Prateik Babbar, son of the late actress Smita Patil (another star of the film), and Nirmala Kurien, daughter of Verghese Kurien (whose story inspired Manthan), also graced the event. Their presence served as a powerful symbol, celebrating the film's legacy and underlining the importance of preserving India's cinematic heritage.
The 2024 Cannes Film Festival together with parallel festivals witnessed a landmark year for Indian cinema, with a record-breaking eight films being screened. However, there were missed opportunities. The India Pavilion, while present, could have hosted programmes specifically showcasing these Indian directors and actors, and crew members whose films were showcased in Cannes. Last year, a similar oversight occurred, leaving these talented filmmakers without dedicated promotion at Cannes. Hopefully, future festivals will see a more comprehensive approach from the India Pavilion.
The Indian presence at Cannes wasn't limited only to films. The much renowned cinematographer Santosh Sivan, known for his rich body of work in Indian cinema became the first Asian to be awarded the prestigious Pierre Angénieux Tribute award at the 2024 Cannes film festival in recognition of his "career and exceptional quality of work".
A notable contingent of social media influencers also made their mark on the festival. This sparked discussions about the evolving landscape of cinema and the role of online content creators. While some questioned whether it might overshadow the artistic merit of the films, it undeniably generated a different kind of buzz. But what truly does matter is the presence of Indian films in the festival’s programme and let’s hope we don’t have to wait 30 years for another competition entry.
