“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.