The 56th International Film Festival of India (IFFI) wrapped up its latest edition on Friday, demonstrating significant growth in scale and programming while raising important questions about its core mission. What began over seven decades ago as an earnest effort to position Indian cinema globally has evolved into one of the country's three most prestigious film festivals, alongside the International Film Festival of Kerala and MAMI Mumbai Film Festival.
Expanded Programming and Infrastructure
The recent edition of IFFI showcased an expansion of ambition through its eclectic programming choices. The festival featured works by internationally acclaimed directors including Joachim Trier, Jafar Panahi, and Takashi Miike, alongside significant Indian content. Notable Indian presentations included the recent Marathi film Ghondal, which earned its director Santosha Davakhar the Best Director award, and a special Rajinikanth retrospective honoring the legendary actor with a Lifetime Achievement Award.
Infrastructure improvements were more visible this year, and the festival made concerted efforts to foster industry conversations through the WAVES Film Bazaar. For a nation with thriving regional cinemas and a vibrant independent film scene that often operates without institutional backing, a national festival of IFFI's magnitude holds tremendous importance.
The Need for Purpose Beyond Glamour
However, ambition must be matched with clarity of purpose. Too often at IFFI, the spotlight focuses on celebrity attendees, films with established market support, and speeches by officials and politicians. An event of IFFI's scale and scope should primarily focus on moulding cinematic sensibilities and discovering new talent.
Consider the Cannes International Film Festival as a benchmark. While its red carpet and A-list guests capture global attention, the festival's core remains dedicated to cinema itself, with its selections and award winners actively shaping cultural conversations worldwide.
Rediscovering IFFI's Legacy
There's nothing inherently wrong with using celebrity glamour to draw attention to cinema, but this should be incidental to what constitutes the essential purpose of any significant film festival: investing in those who need it most - lesser-known filmmakers, independent voices, and daring projects.
This role isn't unfamiliar to IFFI. The festival once served as home to groundbreaking work by pioneers like Mani Kaul, Adoor Gopalakrishnan, and Kumar Shahani. During that era, the festival film - characterized by its exploratory nature, patient storytelling, and boundary-pushing approach - stood central to IFFI's identity rather than occupying peripheral status.
A truly national festival must ensure that all kinds of stories - mainstream, marginal, and everything in between - find their rightful place within its programming. As IFFI continues to grow, balancing its expanded ambitions with a renewed sense of purpose will be crucial for its future impact on Indian and global cinema.
