IFFI 2017 Day 6 at a glance....Read

‘Meet - the Directors’: Kunjila & Vaibhav Hiwase: Indian Panorama – considered as an important section of IFFI Goa 2017 witnessed filmmakers Kunjila and Vaibhav to share their experiences making diploma films – GI (Malayalam) and Palash (Bengali).  The aim of this session was to weave the audience and filmmakers through a narrative that combines culture, language and heritage of different nations and different reasons.
Kunjila, Director of Malayalam Non-Feature film, ‘GI’, says, “Making GI was overwhelming in terms of putting things together like memories, cultures and events that I have witnessed. I've tried to deal with the concept of memory and relationships, the violence in relationships with context to the political environment.”Vaibhav Hiwase, Director of Bengali Non-Feature film, ‘Palash’ told media, “Palash was my Diploma film from Satyajit Ray Film and Television Institute .The environment and the film culture there was healthy, encouraging and gave its students a certain creative freedom that led me to make this film. I'm honored to be here, especially since I'm just starting off as a filmmaker.”

The abuse of technology is the main challenge: French filmmaker Pierre Assouline expressed his
views on technology. He said that new technologies are the means to control commercial cinema. Cinema is not for highlighting an actor but to tell the story.
Amartya Bhattcharaya in his opening remark said that actor must not take control over cinema. Performing art is very primary because technology is never a replacement of human feelings. While narrating the experience about film making Mr Bhattcharaya said that, he completed a film ‘Benaras-the unexplored attachments’ with DSLR Camera and that won National Cinematography award. Further, he expressed that, abuse of the technology is main challenge & not the use of technology.
Deb Kamal Ganguly, Faculty, FTII said that in the film important aspect is ‘acting’ technology is supplementary part of film. We have replaced voice of actors long ago but not emotions and sentiments, which we see onscreen is ‘profilmic reality’ means we see that happens in front of camera. ‘Idea of stardom’ changes every decade, said Mr Ganguly.

Swastik chaudhary, Oriya filmmaker said that there is always an opportunity to break conventions. Shyam G K filmmaker from Bengaluru also participated in the open forum discussion.

Shekhar Kapur, Sameer Nair, Sudhir Mishra and Nachiket Pantvaidya’s take on the ‘Digital Space:
Shekhar Kapur says, “Someone met me outside the auditorium and asked me how to become a filmmaker. So Iasked him if he is able to shoot the movie on his phone, edit it on the computer, and upload it on You Tube, he said yes. The question is do you want to be an iconic filmmaker or a filmmaker. In order to be an iconic filmmaker over a period of time, you develop the idea of the gatekeepers and in today’s time, Amazon and Netflix are the new gatekeepers. So they decide but before that there were studios, production houses, etc. There’s a huge technology shift. Netflix and Amazon became the rebels and became the icons themselves in their space. Gatekeepers take advantage of technology.”

Nachiket Pantvaidya adds, “Internet medium is almost free for the consumers. So the pipes are laid in and the consumers are getting it free. There’s almost one million crore rupees invested in the pipe and so there’s a huge gap between the content that is served on the pipes and investment on these pipes. There’s a huge gap between Naagin and Narcos. For instance, we only have homemade food available as compared to having Mughlai or any other variety in terms of the content available on the internet. That’s a very important space that’s the Indian original space is going to occupy. Digital is the way by which you can do home delivery for cinema. You can order at home and enjoy it in a different atmosphere.”

Sudhir Mishra adds, “Most of the digital content is being watched on the smartphone. The digital space is wonderful because it allows you to have that little cloud of self-censorship in your head also disappears, so you work freely.” Sameer Nair points out, “It’s always been audiences who decide the fate of the films, and as they rightly say there’s no entertainment without applause. The gatekeepers are driven by revenue and economics, so it has always been that the audience will decide. Digital is a good space to be in. Today, we are not talking about theatre screens but mobile screens.”

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