Programme Schedule

With the theme "Cinema in the Age of Artificial Intelligence," the Open Forum emphasized that today's films should maintain their artistic values while exploiting their creative potential.
The Day 3 Open Forum, led by Nizam Asaf, was held at the Tagore Theatre premises on December 15, 2024, at 5 pm, attracting a number of cinephiles. The discussion highlighted that advancements in technology will inevitably influence cinema, and that artificial intelligence can be utilized as an auxiliary tool in select areas. The shift from silent films to sound films and the current incorporation of artificial intelligence in filmmaking were cited as examples. Filmmakers should view the changes brought by such technologies as challenges and strive to improve and innovate.
The VFX sector itself has witnessed significant transformations with the advent of AI. Moreover, technological advancements can simplify our workload. Some participants opined that these possibilities can be leveraged according to a director's interests to create innovative cinema.
Directors Arun Karthik, Krishnendu Kalesh, Vignesh P. Sasidharan, and Ishan Shukla, along with film critic Dr. Sridevi P Aravind, shared their insights at the Open Forum.

Speaking to prominent journalist Saraswathi Nagarajan at "In Conversation," Ann Hui, this year's IFFK Lifetime Achievement Award recipient and renowned filmmaker of Hong Kong New Wave cinema, shared insights and discussed the diversity of her 45-year film career. This special conversation programme was organized at the Nila Theatre on December 15, 2024, the third day of the 29th IFFK. She added that the IFFK Lifetime Achievement Award she received would inspire her life's journey ahead.
Ann Hui spoke about breaking the boundaries of film classification, choosing diverse films without being confined to a framework, and finding inspiration in everyday life. She discussed her Vietnam trilogy, which addressed refugee issues, and shared her experiences at the London Film Institute in the 1970s. Hui also reflected on the challenges she faced, including age discrimination, and noted that science fiction and musical films were the most difficult genres for her to work in. Additionally, she observed that while the democratization of the film industry was reviving the new generation, it lacked new ideas and thoughts. Hui also fondly recalled her days as an assistant director under Chinese director King Hu, praising his talent.
When asked about Asian films and directors, Ann Hui shared her thoughts on the evolution of cinema, noting that it has transitioned from mere entertainment to a recognized art form, with television content also showing significant improvement. She also expressed her views on the trend of idolizing directors.
Hui discussed the literary books that inspired her films, including adaptations such as "18 Springs," "Love in a Fallen City," and "Love After Love." She spoke about her experience directing the controversial film "Boat People," the circumstances surrounding its ban, and the challenges of working within censorship policies. KSFDC Chairman Shaji N Karun was also present during the question-and-answer session that followed the discussion.
 

The open forum on 'New Age Cinema and Review', held at Tagore Theatre, yielded a poignant observation: film reviews have undergone a significant paradigm shift over time. While critics of yesteryear penned their opinions with the intention of intention of leaving a lasting mark on cinematic history, contemporary reviews have largely devolved into fleeting expressions of personal sentiment.

Director V.C. Abhilash expressed that in-depth technical knowledge of filmmaking is not necessary to review a movie. Filmmaker Arjun, film critics Shreya Sreekumar, and Swathi Lakshmi Vikram also participated in the discussion. Swathi Lakshmi noted that reviews have become concise, often summarizable in a single word or sentence, and have undergone significant changes across eras. She added that modern media culture encourages moviegoers to share their opinions, effectively transforming them into film reviewers. The discussion also highlighted the need for honest reviews.

The session, moderated by Nisam Asaf, concluded with a call for balance, emphasizing that reviews must adapt to new platforms and audiences without sacrificing sincerity and substance. Honest critique, the panel affirmed, remains timeless, ensuring that meaningful cinema is recognized, celebrated, and remembered.

The 29th IFFK witnessed a mesmerizing Aravindan Memorial Lecture by the illustrious French composer Béatrice Thiriet. Introduced by KSCA Secretary C. Ajoy, the session beautifully wove together the realms of music and cinema, highlighting their universal language.
Thiriet's lecture commenced with a poignant reflection on her experience with Aravindan's film Pokkuveyil. She marveled at the intricate layers of music that elevated the narrative, illustrating how music can reshape our perception of a story. Her admiration for Aravindan's work was palpable, as she elucidated on the universal language of music, transcending cultural boundaries.
With over three decades of composing experience, Thiriet delved into her collaborative process with directors. She emphasized the importance of tailoring music to each film's unique essence, rather than imposing a predetermined style. She also stressed the need for restraint in composition, lest the music overwhelm the narrative.
Thiriet's work, reminiscent of her collaborations with Indian filmmaker Anup Singh, was a testament to the power of music in bridging cultural divides. Her compositions for Qissa and The Song of Scorpions seamlessly merged disparate cultural influences, creating a rich tapestry of sound.
As Thiriet concluded her session, she eloquently described cinema as a dream and a journey, where each film transports us to a new realm. "In cinema, we are all dreamers," she said, reaffirming the transformative power of film and its music. Thiriet's lecture was a masterful exploration of the intersection of music and cinema, leaving an indelible mark on the audience.

The fifth day of the Open Forum at Tagore Theatre witnessed a heated discussion on "Heralding a New Era: The Struggles and Progresses at the New Dawn of Malayalam Cinema." Filmmakers Indu Lakshmi, Adhithya Baby, Sivaranjini J, and Shobhana Padinjhattil shared their insights during the session, moderated by Sreedevi P Aravind.
Indu Lakshmi's films are a poignant testament to the transformative power of storytelling, weaving a narrative of healing and introspection. Her cinematic voyage began with "Nila," a film that, though not autobiographical, distilled her unique perspective. In contrast, her next effort, "Appuram," drew deeply from her personal wellspring, with dialogues infused with the authenticity of lived experiences. "I see emotions first," Indu revealed, illuminating her creative process. Her films, she confessed, are inspired by a rich tapestry of memories: vivid visuals, poignant dialogues, and stories that have shaped her life. This introspective approach crafts a cinematic language that resonates deeply, inviting audiences to partake in her journey of self-discovery and healing.
After 20 years of dreaming, Shobhana brought her filmmaking vision to life. Her films celebrate female friendships and defy societal norms. "I wanted my bond with my girlfriends to reflect in my film," she said. "I showcase women as change-makers, not victims, challenging Indian cinema's typical portrayal of Dalit and trans women," she added. Shobhana focuses on women who refuse to be confined by society’s expectations.
Sivaranjini challenged traditional gender norms by creating a film that intentionally excludes men, featuring only their voices, a deliberate cinematic and political choice aimed at breaking the stereotype of women's roles.
Adhithya Baby shared her journey of overcoming cinematic limitations, from village roots with restricted dreams to finding inspiration through drama school and supportive friendships. She highlighted the challenges women face in cinema, particularly in technical roles, citing expensive private film schools and a lack of government-funded institutions.
The Open Forum commended IFFK for featuring 52 female-directed films, a monumental achievement inspiring the next generation of women filmmakers and storytellers.
 

The fifth day of the 29th International Film Festival of Kerala (IFFK) witnessed a packed audience at Nila Theatre, gathered to commemorate a remarkable milestone: 100 Years of Armenian Cinema. The occasion was marked by a panel discussion featuring a distinguished lineup of acclaimed Armenian filmmakers and actors. The panel discussion offered a unique opportunity for cinephiles to delve into the rich cinematic heritage of Armenia, exploring its evolution, themes, and contributions to world cinema.
Mikhael Dovlatyan, Serge Avedikian, and Nora Armani, whose works are showcased under the Country Focus: Armenia section of the festival, shared their insights and experiences. Joining them was Karina Simonyan, producer of the critically acclaimed films Yasha and Leonid Brezhnev, which were screened in the World Cinema category.
Curator of the 29th IFFK, Golda Sellam, set the stage for a captivating discussion, introducing the esteemed panel to a rapt audience. As the conversation unfolded, it revealed profound insights into the remarkable journey of Armenian cinema, marked by resilience, creativity, and a deep-seated connection to the nation's rich cultural heritage.
Serge Avedikian steered the audience through Armenian cinema's fascinating journey, from its inception in 1924 to the present day. With meticulous detail, he recounted the pioneering spirit of the first Armenian sound film, Pepo, which not only laid the foundations for Armenian cinema but also paved the way for the entire Caucasus region, including Georgia. He poignantly noted the challenging era of Stalin's Soviet rule in the 1930s, during which films were heavily influenced by Soviet ideologies. However, he also highlighted the resurgence of Armenian cinema in the 1960s, as filmmakers began to explore diverse perspectives and reclaim their unique voice. The premiere of Hello, That's Me! at Cannes marked a significant turning point, ushering in a new era of international recognition. He also paid tribute to the visionary composer Henrik Malyan, whose works wove traditional Armenian values into the fabric of cinema, subtly influenced by the rhythms of Indian music.
Mikhael Dovlatyan shed light on Armenian cinema's vibrant present and future. He emphasized the government's support for international collaborations and praised India's reverence for cinema. Armenia, he noted, is emerging as a filming haven, offering diverse landscapes and subsidies for filmmakers. Nora Armani passionately discussed Armenia's post-Soviet era, a time of rediscovery and self-expression. As the nation gained independence, filmmakers like Serge and Mikhael dared to create, despite the daunting challenge of securing funding. Armani marvelled at their courage, citing the film Labyrinth as a testament to their unwavering dedication to their craft.
Karina Simonyan candidly shared the challenges of filmmaking in Armenia, citing the scarcity of funding sources. As a producer, she relies on international co-productions to bring her visions to life, highlighting the financial hurdles that Armenian filmmakers must overcome.
The panel concluded with a resounding acknowledgment of Armenian cinema’s ability to evolve, adapt, and connect with global audiences,weaving a century-long tapestry of stories infused with history, identity, and resilience.
 

“Reality and Cinema” - an insightful seminar organized by FIPRESCI in association with FFSI, was held at the Tagore Theatre premises as part of the 29th IFFK. In the session moderated by Sachin Chate, Girish Kasaravalli delivered the inaugural address, while V.K. Joseph chaired the session. The panel of speakers included critics Madhu Janardhanan and Sreedevi P. Aravind, as well as filmmaker Subrata Beura.

Renowned filmmaker Girish Kasaravalli emphasised the need for cinema to engage with and respond to real socio-political issues as Indian cinema often portrays visible societal problems, many crucial yet invisible stories remain underrepresented. He added that marginalised issues, which deserve attention in any civilised society, must find a voice through cinema.

V.K Joseph, President of FIPRESCI India expressed his views on how we hold unending conversations with which we aim to enquire about what is happening in Indian cinema. Filmmaker Subrata Beura raised pertinent questions about the disproportionate number of film institutes compared to IITs in contemporary India. He also mentioned major challenges like funding and that the audience is now exposed to a diverse range of media and content.

Film critic Madhu Janardhanan elaborated on the initiatives undertaken in the country to foster cinematic development.  Sreedevi P. Aravind shared an optimistic perspective, observing that the political narratives in films produced by the new generation are promising. She noted that such films are increasingly finding platforms to reach audiences.

The sixth day of the International Film Festival of Kerala (IFFK) was marked by "In Conversation with Payal Kapadia" honouring her remarkable contributions to the world of cinema.

As the audience was captivated by her presence, Payal Kapadia shared her profound insights on cinema, society, and humanity. KSCA Chairman Prem Kumar bestowed upon her a heartfelt felicitation, aptly referring to her as the "Iron Lady of the Pune Film Institute," highlighting her unwavering commitment to shaping a progressive society through the powerful medium of cinema.

The session, moderated by Director of the Cultural Affairs Department Divya S. Iyer, IAS, and Deputy Director (Festival) of KSCA H. Shaji, saw Kapadia share her experiences as a filmmaker. She discussed the evolution of her craft, from documentary films to feature films, emphasizing that the boundaries between fiction and non-fiction are thin.

Citing her latest film, "Prabhaayai Ninachatthala," which won the prestigious Grand Prix at the Cannes Film Festival, Kapadia highlighted the challenges faced during the film's production and the significance of music in the narrative.

Expressing her concerns about the the lack of representation of women directors in film festivals and selection systems, Kapadia emphasized the need for greater inclusivity and support for independent filmmakers, particularly women.

The event was attended by the crew of "Prabhaayai Ninachatthala" and a large audience, who engaged in a lively discussion with Kapadia. The International Film Festival of Kerala (IFFK) is a premier event in India's cinematic calendar, showcasing a diverse range of films from around the world.

The event drew to a close with a lively discussion between Kapadia and the audience, which comprised the cast and crew of "Prabhaayai Ninachatthala" underscoring the festival's commitment to showcasing a diverse palette of films from around the globe.

The in-conversation session, held as part of the 29th IFFK, featured acclaimed Georgian filmmaker Nana Jorjadze. She shared her cinematic journey in a thoughtful conversation with Aditya Shrikrishna.

Her love for storytelling took root early, as she grew up watching films and dreaming of making her own. "Growing up in Soviet Georgia, opportunities for aspiring filmmakers were scarce," she shared. "There was no film institute in Georgia then." However, Georgia's cinematic legacy is profound. "The first cinema in Georgia dates back to 1906, and interestingly, the first filmmaker and cinematographer were women," she pointed out.

Jorjadze's films are inseparable from magic realism, a philosophy that she carries through both her art and her life. "My entire life is magic realism. Sometimes, I struggle to find the border between real life and my imagination." This history paved the way for generations of storytellers, and today, Georgia's younger filmmakers, particularly documentarians, continue to carry forward that tradition with their fresh perspectives.

"Often, my imagination feels more real than reality," she confessed. Whether it's "Chef in Love" or "27 Missing Cases," her stories are rooted in real life, drawing from memories of her grandparents, tales from her neighbours, or her own lived experiences, all imbued with a sense of the magical. Even mundane moments, such as seeing a London-to-Delhi telegraph pole, can evoke layers of memory that seep into her films. For Jorjadze, the line between life and art is blurred. "My films are my biography," she said, underscoring the deeply personal nature of her storytelling.

She also revealed how improvisation is central to her filmmaking process. "All my films are improvised multiple times," she shared, allowing her stories to evolve organically. She believes that while politics and systems may come and go, certain things endure. "Communism can disappear, but good food will stay. Politics will come and go, but culture, hope, and food are forever."

Her love for cinema extends to her admiration for Italian filmmaker Federico Fellini, whose work has deeply influenced her. "Loneliness is something that Fellini and I discussed when we met," she shared, noting her connection to the emotional honesty of Italian neorealism. While Jorjadze appreciates films of all kinds, she remains drawn to works that evoke a strong emotional truth, even if the style feels distant from her own.

Through her words and films, Nana Jorjadze reveals herself as both a realist and a dreamer. She sees magic in life's smallest details, transforming struggles and memories into art that transcends boundaries. "I always try to see some magic even in reality. I cannot imagine films without magic," she mused. For Jorjadze, the act of filmmaking is not just about storytelling; it is about capturing life's fleeting, magical essence and offering it as a shared experience to the world.

The 29th International Film Festival of Kerala (IFFK) hosted a wrap-up session for the open forum on "The Role of Contemporary Films in Global Film Festivals" at the Tagore Theatre.

Renowned filmmaker Rima Das, director of the acclaimed film "Village Rockstars," shared her personal journey, citing Patrick Judd's phrase, "Act global, think local." Das reflected on her film career, which began at film festivals, and emphasized that her primary focus was on creating art rather than pursuing big-budget productions.

Kerala State Chalachithra Academy (KSCA) Chairman Premkumar highlighted the significance of film festivals as platforms where diverse perspectives converge. He noted that the collective experience of film enthusiasts watching a movie with a unified mindset is what makes film festivals successful. As long as this communal spirit endures, the importance of film festivals will remain unabated.

Curator Fernando Brenner added that film festivals also play a crucial role in the commercial promotion of films. He emphasized that these events serve as a vital window for showcasing exceptional cinema to audiences worldwide.

According to Festival curator Golda Sellam, film festivals are preparing a platform to bring together film lovers and filmmakers, meeting the needs of both groups. She also stated that IFFK can be as good as the Berlin, Venice, and Cannes International Film Festivals.

In the post-COVID era, even OTT and home theater have gained more space, yet the relevance of film festivals has not diminished, said KSCA Secretary C. Ajoy. He informed that plans have been initiated to make the upcoming 30th IFFK even better. He added that he expects more public participation than the 15,000 delegates who attended the festival this time. He assured that he will ensure more facilities by understanding their preferences and expressed his gratitude to them for enhancing the success of the festival.

 FFSI Secretary Reji M.D. stated that the cinema experience in a theater is full of various levels and will be different for each person.