The Meet the Director session on the fifth day of the 30th IFFK featured candid discussions on the creative, financial, and logistical challenges faced by filmmakers. Moderated by Balu Kiriyat and Meera Sahib, the session brought together directors Rinoshan K (The Coffin), Vishnu K Beena (Chaav Kalyanam), Maharishi Tuhin Kashyap (Kok Kok Kokoook), Nidhi Saxena (The Secret of the Mountain Serpent), and Fazil Razak (Moham).

Rinoshan K spoke about The Coffin, made on a modest budget of ₹2–2.2 lakh with the voluntary support of technicians, highlighting the team’s collective commitment to meaningful cinema. Maharishi Tuhin Kashyap noted that his Assamese film Kok Kok Kokoook was produced using a ₹13 lakh grant from the Satyajit Ray Film and Television Institute and involved unique challenges, including training a rooster central to the narrative.

Vishnu K Beena shared that Chaav Kalyanam was financed with family support and featured an entirely new cast and crew, while Fazil Razak said Moham was completed in just 15 days despite production hurdles, driven by strong dedication.

Nidhi Saxena discussed The Secret of the Mountain Serpent, a war-backdrop film exploring women’s desires, which received a ₹1.18 crore grant from the Venice Biennale College of Cinema and gained international recognition, though completing it within 10 months was challenging.

IFFK strongly condemns Film Censorship

The Open Forum held on the fifth day of the 30th International Film Festival of Kerala (IFFK), themed “Freedom of Film Festivals,” witnessed intense discussions and strong criticism of censorship following the Central Board of Film Certification’s decision to deny screening permission to 19 films. Participants at the forum expressed unanimous opposition to the move, describing it as a serious threat to artistic freedom.

Renowned filmmaker T. V. Chandran emphasized that cinema is a vital medium of free expression. “No one should be afraid to think or dream,” he said, adding that preventing the screening of a film such as Battleship Potemkin was equivalent to suppressing cinema as a whole. While acknowledging the reassurances given by the Chief Minister and the Minister for Culture, Chandran stressed the need for continued protest to prevent any future attempts to undermine the festival.

Director and former Kerala State Chalachitra Academy chairman Kamal noted that since its inception, IFFK has consistently upheld a policy of amplifying marginalized voices. He highlighted the festival’s long-standing effort to showcase films from Third World, Afro-Asian, and Latin American regions, and expressed concern over censorship decisions that undermine this vision. Kamal also criticized the rejection of films based on arbitrary grounds, including objections to titles such as Beef, and the banning of internationally acclaimed works like Battleship Potemkin, which is part of academic curricula.

Renowned Filmmaker T. K. Rajeev Kumar questioned the practice of requiring even synopses of films already cleared by local censor boards in Kerala to be forwarded to Mumbai for approval. Premendra Majumdar alleged that approvals are being deliberately delayed, further hampering the screening process.

Director Manoj Kana observed that fear of financial loss has led many in the industry to remain silent on threats to freedom of expression. Actor Alencier, speaking pointedly, remarked that he had arrived with a coffin symbolic of the danger posed to constitutional values, but thanked the state government for permitting the screening of his film. Actor Santosh Keezhattur concluded by reiterating that cinema fundamentally represents the creative freedom of its maker.

Renowned Spanish actress and jury member of the 30th IFFK, Angela Molina, reflected on her remarkable journey of more than five decades in cinema during an engaging In Conversation session with director and producer Sebastian Arvale.

Molina spoke emotionally about working with legendary filmmakers such as Luis Buñuel and Pedro Almodóvar. Recalling her experience with Buñuel at the age of 22, she described him as her true mentor. “He asked to meet me to watch the rushes, and that moment began a deep bond,” she said, adding that Buñuel understood her personal loss and became a protective, grandfatherly presence in her life. She also reflected on her collaboration with Pedro Almodóvar in Carne Trémula, and noted how her work with Ridley Scott left a lasting influence on her artistic and personal life.

Speaking about her latest film, Polvo Serran, Molina described it as a complex exploration of love and the right to choose death. In the film, music and contemporary dance function as psychological solace for the character. She praised director Carlos Marquette as one of the most sensitive and promising filmmakers of his generation.

Molina further shared her enduring connection with India, recalling her first visit to the country at the age of 22 and the deep impression it left on her. The session concluded with an interactive exchange, as the audience engaged Molina with thoughtful questions, bringing the conversation to a warm and reflective close.

At the Meet the Directors session, moderated by eminent film director and writer Balu Kiriyath and held at the Tagore Theatre premises as part of the 30th IFFK, filmmakers spoke candidly about the behind-the-scenes efforts and financial constraints they encountered while realising their dream projects.

Thanthapperu , directed by Unnikrishnan Avala and filmed with the Cholanaikkan tribe—the only remaining cave-dwelling community in Asia—portrays the impact of the National Emergency on their lives. One of the film’s greatest challenges was that the cast consisted entirely of real members of the tribe, who traditionally remain confined to their own dwellings and are reluctant to engage with outsiders. The film narrates the story of a community that, despite a desire for marriage, is unable to find women within its own group.
Avala noted that it took him six years to accomplish the task of bringing before the camera people who were initially unwilling even to stand in front of him, transforming them into characters and ultimately crafting a film through their lived experiences.

Ishan Ghosh, director of Mirage, stated that although the film took a considerable amount of time to complete, his sole focus was on seeing the project through to completion. He also spoke about the criticism he faced for embarking on the film without a script, working instead with friends and using a small Sony camera.

Playwright and writer Mini I. G. spoke about the challenges she encountered while fulfilling her long-cherished dream of completing her film, Aadi Snehathimin Virunumeshayil, which explores contemporary social relationships. She noted that the film was completed within a short span of time, as it had no producer and several members of the crew worked without remuneration. She also shared that, since her earlier years as an IFFK delegate, she had nurtured the aspiration of one day screening her own work at the festival.

Debut director Rajesh Madhavan stated that his first directorial venture, Pennum Porattum, featured several new faces. He noted that dubbing was not feasible for the film, as the dialogues were not pre-written and the sound was recorded live during the filming of the scenes.

Sreekumar K. stated that he undertook Anyarude Akashangal driven solely by its theme. Directors Sreejith S. Kumar and Grito Vincent, who made Sheshipp based on life during the COVID-19 period, spoke about the challenges they faced in the early stages of the project, particularly in securing producers, as the film featured new faces.

The session was also attended by Soumyananda Sahi, director of Shadow Box, which premiered at the Berlin International Film Festival, and Ravi Shankar Kaushik, director of Lapteen.

An engaging open forum was held on 15 December 2025 as part of the 30th IFFK, bringing together directors Gautam Ghosh and T. V. Chandran, along with film critics Premendra Majumdar, Aparajita Pujari, and Sridevi P. Aravind. The session, moderated by Jithin C., focused on the theme “How Constructive Intelligence Influences Contemporary Criticism.”

Gautam Ghosh expressed that constructive intelligence should not be seen as a threat; rather, it represents a phase in the ongoing development of cinema, comparable to the historical transition from black-and-white to color films.

Director T. V. Chandran added that the real challenge lies not in constructive intelligence itself, but in the absence of creative minds. “Good thoughts create good films,” he emphasized, highlighting the enduring importance of imagination and vision in filmmaking.

Aparajita Pujari compared constructive intelligence to a tiger that can be tamed, emphasizing the need for awareness of its potential and advocating a responsible approach to its use. Sridevi P. Aravind added that classic films, such as Battleship Potemkin, are products of human creative thought, and no artificial intelligence could ever replicate such works.

During the event, Gautam Ghosh presented the FIPRESCI Lifetime Achievement Award to T. V. Chandran, with FIPRESCI India President V. K. Joseph presiding. Ghosh praised Chandran’s films as rich and nuanced works that subtly explore social constraints. Director Kamal also spoke, and the session was attended by editor and translator Latika Padgaonkar, along with G. P. Ramachandran and Madhu Janardhanan. Additionally, Ghosh presented and released the book Ritwik Ghatak: Unyielding Visionary, edited by P. R. Balakrishnan, to T. V. Chandran.

Filmmakers at the forum also voiced concerns regarding the Union Ministry of Information and Broadcasting’s decision to exclude 19 films from screening at the IFFK. The session provided a thought-provoking discussion on the evolving interplay between technology, creativity, and critical discourse in contemporary cinema.
 

“Cinema is the most powerful medium for communicating ideas. Beyond dialogues, images, sounds, and even silence can convey the essence of cinema to the audience,” noted veteran Mauritanian director and IFFK Lifetime Achievement Award winner Abderrahmane Sissako. He was delivering the G. Aravindan Memorial Lecture at Nila Theatre on 15 December 2025, as part of the 30th IFFK.

Sissako emphasized that in contemporary cinema, the way a film is presented often carries more significance than the idea itself. He stressed that what matters most is whether the film effectively conveys its intended subject to the audience. Reflecting on his own connection to cinema, Sissako added that the strong driving emotion behind his work is love, particularly the deep affection for his mother, which has shaped his cinematic vision.

“What you wear doesn’t define your sense of freedom. A person wearing a hijab can have more liberated thoughts than someone wearing jeans,” director and actor Tannishtha Chatterjee opined, stressing that clothing should never be used as a measure of personal freedom. She was speaking at the Meet the Director session held on 15 December 2025 at the IFFK.
She also emphasised that attire is shaped by cultural circumstances and habits, and should not become a yardstick to judge an individual’s mental or ideological freedom. Her film Full Plate, screened at the festival, strongly reflects these ideas. Chatterjee, whose work won the Marie Claire Visionary Director Award at the Busan International Film Festival, noted that the film engages with contemporary Indian political realities, where food, religion, caste, and class have increasingly become central to public discourse.
The session, moderated by filmmaker Balu Kiriyath, turned into a vibrant forum for filmmakers to exchange perspectives on cinema and socio-political themes. Several notable directors participated, sharing insights into their works.
Nipin Narayanan, Arun Varghese, and Adithya Baby discussed their psychological and experimental films, while Dr. Biju spoke about Papa Buka, Papua New Guinea’s Oscar entry. International voices also enriched the discussion, with Chilean filmmaker Pablo Larraín, Ecuadorian director Ana Cristina Barragán, and debut director Anuparna Roy sharing their experiences and creative journeys, reinforcing IFFK as a key platform for expressing identity and contemporary realities.
 

At an engaging open forum titled Patriarchy in Indian Cinema: Power, Gender, Politics, held at the 30th IFFK on 14 December 2025, the complexities of gender bias in the film industry were examined, shedding light on how such discrimination influences the success of films.

The discussion revolved around the idea that while women-centric films are celebrated for their success, these achievements are often attributed to collective effort, whereas the success of male-centric films is frequently framed as the individual accomplishment of the protagonist. The forum also delved into disparities in the portrayal of male and female characters, as well as the nuanced representations of male gay identities in cinema, sparking significant debate.

Moderated by Shreya Sreekumar, the forum brought together a distinguished panel including film critic G.P. Ramachandran, dubbing artist Bhagyalakshmi, researcher Dr. Rekha Raj, director Mini I.G., and film critic Dr. Anu Pappachan.

Director Mini I.G. emphasized the urgent need to recognize and accept the leadership and creative contributions of women in creative sectors. Bhagyalakshmi highlighted the prevailing complexities within the industry, underscoring the powerful influence of circulating misinformation. She also referred to the actress attack case, noting that the survivor initially received little to no support from the film industry and was forced to fight the battle alone.

It was noted that while male actors are often celebrated with special titles, such recognition is seldom extended to their female counterparts. Dr. G.P. Ramachandran pointed out that the gender pay gap in the industry reflects broader societal inequalities, with women receiving lower compensation despite equal contributions to film successes.

The forum also saw the release of the cover of the book Penthira by Dr. Anu Pappachan, marking another step in the ongoing conversation on gender and power in the cinematic world.

The third day of the 30th IFFK was marked by critical reflection and intellectual intensity as acclaimed Chilean filmmaker Pablo Larraín delivered a compelling lecture at the Masterclass session at the Nila Theatre. The session offered a rigorous examination of cinema’s ethical responsibility, artistic intent, and its enduring power to shape collective memory.

Larraín, a leading figure in contemporary world cinema, is known for films such as Jackie, Spencer, El Conde, and No—the first Chilean film to receive an Academy Award nomination for Best Foreign Language Film. Speaking with striking honesty, he reflected on failure as an essential teacher in his creative journey. Early setbacks, he noted, taught him the importance of protecting and understanding characters, insisting that they must be approached with clarity, care, and empathy.

According to Larraín, characters function as mirrors through which audiences recognise themselves. When that mirror is distorted, empathy dissolves. He strongly criticised formulaic storytelling, particularly narratives that degrade characters only to later redeem them, describing such approaches as intellectually dishonest and creatively complacent.

Addressing the process of learning cinema, Larraín observed that while film schools can provide guidance, they cannot impart the core sensibility required for filmmaking. True understanding, he argued, emerges from a deep engagement with history, philosophy, and literature, combined with sustained viewing and the lived experience of making films. Technique may be taught, but sensibility, he emphasised, must be cultivated.

Politics, for Larraín, is inescapable. Every film, regardless of its scale or genre, conveys a vision of society and is therefore inherently political. He described cinema as a powerful illusion—one that demands honesty, precision of perspective, and moral courage.

The masterclass concluded as a call to resist complacency. Larraín urged filmmakers to embrace complexity, confront political realities, and trust their audiences, reaffirming his belief that cinema’s true strength lies not in comfort or appeasement, but in intellectual and emotional integrity.

Uruguayan filmmaker Verónica Perrot González, director of Quemadura China, highlighted the importance of artistic individuality and confidence in filmmaking while speaking at the ‘Meet the Director’ session held at Tagore Theatre on the second day of the 30th IFFK.

“The foremost quality a good director must have is the courage to be oneself. That confidence helped me complete low-budget films beautifully,” Verónica said, emphasising that passion and self-belief are essential to overcoming the many challenges of cinema. Responding to a question on what it takes to become a good director, she remarked, “If we do anything with passion, we can overcome all its challenges.”

Visiting Kerala for the first time, Verónica had her film screened in the Latin American category of the festival on Saturday. She shared behind-the-scenes insights into Quemadura China while also reflecting on the fundamental lessons of direction. According to her, true satisfaction in cinema does not lie in following established paths but in forging one’s own creative journey.

Quemadura China centres on the lives of Siamese twin brothers who decide to undergo surgery to separate, and the complex situations that arise from this life-altering decision. The film delves deep into human conflicts and the emotional landscapes of the mind.

The session also featured acclaimed Malayalam director Jeo Baby, who spoke about his upcoming film Ebb. He noted that cinema is a medium to closely observe human conditions and evoke a natural sense of empathy. Discussing his film—which weaves together the trajectories of human lives through the emotion of love—Jeo Baby also shared insights, drawn from his own experiences, on how newcomers can find their way into the world of cinema.

Anirudh Lokkur, executive producer of the Kannada film Don’t Tell Mother, spoke about the project, which is directed by his brother Anoop Lokkur. Malayalam director Balu Kiriyath also participated in the session.

The discussion was moderated by Mira Sahib, and the session provided an engaging platform for filmmakers and audiences to exchange ideas on creativity, storytelling, and the evolving language of cinema.

The first Open Forum of the 30th edition of the IFFK was inaugurated by eminent filmmaker Syed Mirza, marking the beginning of a series of critical discussions that bring together filmmakers, critics, and audiences. The Open Forum serves as an important platform for dialogue on contemporary cinematic practices and challenges.

The theme of the inaugural session was “Doors to Cinematic Freedom: New Environments and Challenges in Cinema”, and it was moderated by Nizam Assaf. The discussion focused on the evolving nature of cinema, democratic spaces within filmmaking, and the impact of emerging technologies. 

The session was attended by Kelly Fiffe Marshall, winner of this year’s Spirit of Cinema Award, K Hariharan, Chairman of the FFSI Kerala Jury and noted filmmaker, and acclaimed director T V Chandran.

Speaking at the forum, T V Chandran observed that cinema is increasingly evolving as a democratic medium. He emphasized that democracy can flourish only when it is nurtured in the right environment, identifying primary education as the foundational “soil” for democratic growth in India and across the world.

The discussion also examined the influence of artificial intelligence and technological advancements on cinema. Addressing concerns about technology leading to creative stagnation, Syed Mirza pointed out that similar apprehensions existed during earlier transitions in cinema—such as the introduction of sound, colour, and computers. He expressed confidence that artificial intelligence, like previous technological innovations, would contribute positively to the growth and evolution of cinema. Kerala State Chalachitra Academy Secretary C. Ajoy was also present at the session.