The International Film Festival of India (IFFI) is one of Asia’s oldest and most prestigious film festivals, showcasing the best of global cinema. Held annually in Goa, India, IFFI has evolved significantly over the last 20 years, reflecting the changing landscape of world cinema.
In the early 2000s, IFFI focused on promoting Indian cinema, with an emphasis on Bollywood. The festival featured retrospectives of legendary Indian filmmakers, such as Satyajit Ray and Raj Kapoor.
IFFI expanded its scope, introducing the International competition section in 2010, country Focus segment in 2011, Indian Panorama section in 2012 and collaborations with international film festivals (e.g., Cannes, Berlinale) too.
This period saw increased participation from global filmmakers, with notable screenings including “The King’s Speech” in 2010, “Life of Pi” in 2012 and “The Lunchbox” in 2013.
IFFI continued to modernise, incorporating digital technology for film submissions and screenings, masterclasses and workshops with industry experts and increased focus on emerging filmmakers and genres (viz. LGBTQ+, animation).
Notable screenings included “The Revenant” in 2015, “A Separation” in 2016 and “Newton” in 2017.
IFFI adapted to the pandemic era, hosting hybrid (online-offline) editions in 2020 and 2021. The festival introduced online platforms for film screenings and events which was welcomed by the film fraternity. It also expanded its industry sections, including film markets and pitching forums. IFFI also collaborated with international organizations (e.g., UNESCO, FIAPF) in the endeavour to deliver the best experience to the enthusiasts through films.
Today, over 1,000 films are screened annually and thousands of international delegates attend the celebration of India and world cinema. More than 50 countries have been represented at the IFFI. IFFI’s 50th edition in 2019 saw record-breaking attendance.
IFFI goes beyond films as far as its impact and legacy is concerned. IFFI has succeeded in fostering cultural exchange between India and the global film community. It has promoted Indian cinema internationally, provided a platform for emerging filmmakers further contributing to Goa’s growth as a cultural and tourism hub.
As IFFI continues to evolve, it remains a vital platform for cinematic expression, creativity, and collaboration. Here’s an in-depth analysis of IFFI’s impact on Indian cinema and its significance in the global film festival circuit.
IFFI has had a lasting impact on Indian cinema. It has been a platform for new and emerging Indian filmmakers to showcase their work, gain recognition and network with industry professionals. It has aided promoting Indian cinema globally, attracting international audiences, critics, and filmmakers.
This exposure has contributed to the growing recognition of Indian cinema worldwide. IFFI facilitates cultural exchange between India and other countries, enabling filmmakers to learn from each other and collaborate on future projects.
Its International Competition section provides a competitive platform for filmmakers to showcase their work, competing for the prestigious Golden Peacock Award. IFFI offers unparalleled networking opportunities for film professionals, enabling them to connect with international filmmakers, producers, and distributors.
However, it faces challenges related to infrastructure and logistics, including venue management, transportation, and accommodation. IFFI competes with other prominent film festivals, such as Cannes, Berlin, and Toronto, for films, filmmakers, and audiences. IFFI needs to adapt to the digital transformation of the film industry, incorporating online platforms and virtual reality experiences to enhance the festival experience.
Celebrated filmmaker Sainath Uskaikar, whose short-film Wagro earned accolades at Cannes Film festival, said that there is a lot to do in order to penetrate film culture in Goa.
“I really feel when we look at these 20 years of IFFI in Goa, it has been an illustrious period of IFFI in the State. But, there is a lot that we have to do on the front of penetrating film culture and cinema culture to different clubs different societies in the rural and different parts of Goa,” Uskaikar said.
“When we look at these 20 years, I think the only perspective which we should put forward is penetrating cinema and film culture in the roots of Goa. When we have public screenings across Goa at different venues which are which are not ticketed, as well as you do not require delegation of a IFFI there, it is better if we show some independent cinema if we show some world cinema and not the mainstream cinema that is already available in the theatres,” he said.
Award-winning writer-director, Miransha Naik said, “Our focus should be more on the premiers which is the main objective of any film festival instead of having the released films. I have personally experienced a lot of changes in a good way ever since the National Film Development Corporation (NFDC) became part of IFFI,” he said.
Actor Kevin D’Mello said that Goa doesn’t have a film institute. IFFI helps in exposing Goans to the world cinema and learn from it.
“There is no film institute in Goa and IFFI helps in learning how the world makes films”.
Actor Pradeep Naik said that IFFI has been a source for Goans to learn about the nitty-gritties of the art of making cinema.
Miransha Naik while explaining whether over the past 20 years in Goa IFFI has managed to establish as an international film festival said, “Over the years,whether IFFI has established itself as an international film festival or not, I don’t know...does it have the potential become one of the best…that is for sure because we have all the resources, we have the budget, we have the perfect venue as Goa, we have everything for IFFI to become one of the best film festival in the world,” he said.
Film Critic Ramita Gurav said that technology has reduced the human touch in the organising of IFFI and has been depriving genuine cinephiles of great movies. Speaking on film culture in Goa and the youngsters partaking in the process, she said, “Directors like Miransha Naik and Badroy Baretto from Goa are producing good movies. But the connection with the youth needs to be there beyond paper.”
Gurav also said that avoiding agenda driven movies, mediocre films and offering artistic Indie cinema for film lovers would be welcome.
Dinesh Bhonsle, maker of films like Marmabandh (2008), Enemy (2015), Amori (2018) and Gathan (2023), said, “We have not come up to that point where we had to be in the last 20 years, because there is no proper support from the government of Goa to take the industry to a bigger level. They have various schemes, but those schemes - like the film finance scheme - are not implemented regularly, the producer doesn’t get the money on time.”
Whatever films that are selected for IFFI arte mostly short films, which are screened under Goa section.
Kishor Arjun, known for films like Bade Abbu (2019), Kupanto Dario (2021), Ardhodis, Half Day (2022), Peace Lily, Sand Castle (2023) and Ek Cup Cha (2024), said that his short film ‘Ek Cup Cha’ received a tremendous response for the screening of the film at IFFI this year.
“I never expected such a response because, if you see the overall picture of Goan movies from last 4-5 years, I can see how we previously used to force filmmakers to make a movie. And eventually, the Goan section has increased as this year, we got 28 entries. That was a huge number for Goan film makers,” Arjun said.
While IFFI acts a big platform for budding Goan film makers, when it comes to film finance, the producers are still awaiting government support.
“It’s an open secret that filmmakers are struggling so much to make a movie and money also. Now, this year, they announced subsidy for the 2018 to 2023 movies and short films. If the government disburses the respective subsidy to the filmmakers, they will be encouraged. We are a very tiny industry and are still figuring out what is the winning formula for the Goan movies,” he said.
Dnyanesh Moghe (Digant, 2013), said that IFFI was a nice platform. However, only IFFI is not enough.
“When an agency like ESG is there, they should organise various workshops related to films throughout the year. To make movies is also a challenge. The Goa Government announced the Film Finance Scheme for funding films that were made in 2018. Even the same scheme was announced few years back by Subhash Phaldesdai, but nothing happened,” Moghe said.
Laxmikant Shetgaonkar, maker of films Paltadacho Munis (2009) and Baga (2013), said, “I made a film, ‘Eka Sagar Kinaree’ before IFFI came to Goa. The film won a Golden Conch at Mumbai International Festival (MIFF). In 2005, IFFI came to Goa. I was very happy, as the whole cinema industry was coming to Goa, there would good infrastructure, and we’ll be able to mount Konkani cinema on this wave. That was my expectation,” Shetgaonkar said.
“Till 2014, I could see an upward graph where people were making films. In 2014, IFFI, there were 14 feature theatrical films in Goa. After that, it went down and we could never pick up, not till today. We ended up having one or two feature films per year. In the last couple of years, we didn’t have a single feature film in theatres,” Shetgaonkar said.
“We are spending Rs 24 crore on organising IFFI and in contrast we are spending Rs 2 crores on Goa’s film finance scheme, which is very less and yet it has not been given for last eight years. Which means the government is not interested in promoting locals and local film culture. They are only interested in holding IFFI as an event,” he said.
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