IFFI Bulletin - 21 nd November - International Film Festival of India

Glitter and grandeur mark start of 

43rd International Film Festival of India 

It was certainly an inauguration with 

a difference, and signified its glitter 

and sheen in the grandeur event 

that heralded not only the 43rd 

International Film Festival of India, but 

also marked a major milestone in the 

celebrations to mark a centenary of Indian 

cinema. 

The large number of Indian and 

international film personalities at the 

inaugural venue also demonstrated the 

fact that Indian cinema had gained a 

respectability all over the world with its 

variety and growth. 

For the first time, the inauguration was 

split in two venues: while the opening took 

place in the specially constructed hangar 

in the Football Grounds which could seat 

over 2,500 persons, the opening film ‘Life 

of Pi’ by Ang Lee was screened in the Kala 

Academy which adjoins the Grounds. 

The huge stage had been tastefully 

decorated, with two large peacocks – 

which mark the emblem of the Festival – 

on both sides. 

Lending an air of glamour to the 

inauguration were the chief guest, 

Hindi cinema’s action and comedy star 

Akshay Kumar, and the Guest of Honour 

Kajal Agarwal. Bollywood was also 

represented at the event by actors Irrfan 

Khan and Tabu of ‘Life of Pi’. Acclaimed 

international star Kabir Bedi and talented 

actor Perizad Zorabian conducted the 

entire programme to perfection. 

The event was also graced by the 

presence of the Goa Governor, His 

Excellency B V Wanchoo, the Goa Chief 

Minister Manohar Parrikar, the Central 

Minister of State for Information and 

Broadcasting Mr Manish Tewari , Mr 

Uday Kumar Varma who is Secretary for 

Information and Broadcasting, Goa Chief 

Secretary B Vijayan. The Polish Culture 

Minister Mr Bogdan Zdrojewski and the 

Ambassador Professor Piotr Klodkowski 

were also present. 

In a short address, Mr Tewari said 

cinema has a lot of influence on the 

people, and therefore it should be used for 

the larger good to create an amicable ethos 

globally. He said the Festival represented 

the best of Indian and international 

cinema. The Centenary was also being 

marked by a special section, and had films 

that had stood the test of time. He said 

the Government was keen to celebrate 

the centenary appropriately, and therefore 

had set up a National Film Heritage 

Mission in the Twelfth Plan (2012-17). 

The Government had also entered into coproduction 

treaties with several countries. 

Mr Marrikar said the IFFI had cone 

to Goa earlier when he had been Chief 

Minister in 2004. He said the state had 

been recently voted as the best film 

destination in India. But he said the IFFI 

had begun in Goa in 2004 with doubts, 

and then expectations, and so now it was 

time to deliver on commitments made 

then. He said cinema was one industry 

that continued to grow despite lack of 

resources. He also paid a tribute to the 

contribution of Goans to the state and 

referred to Anthony Gonsalves who had 

contributed to music but had passed away 

in the past year. 

Mr Uday Kumar Varma said that IFFI 

had grown from strength to strength 

incorporating new themes and all efforts 

will be made to imbibe the spirit of 

Vasudhaiva Kutumbakam (the whole 

world is one family) through IFFI. 

Akshay Kumar said Indians love 

cinema and referred to his childhood 

when his family would miss out on one 

meal every Saturday so that it could 

afford the money to go out to see a film 

in the evening. For him therefore, cinema 

was emotion, excitement, suspense, and 

family time. He owed his entire happiness 

to cinema. 

While referring to the demise of 

his father-in-law and the country’s first 

superstar Rajesh Khanna in the past year, 

he asked the entire audience to stand in 

silence for some time to pay homage to all 

the veterans including Dara Singh, Yash 

Chopra, and others who had passed away 

in the past year. 

After this somber moment came 

the highlight of the evening: a special 

tribute to Indian cinema on its centenary. 

An audio-visual created by renowned 

filmmaker Jahnu Barua was screened, 

interspersed with live performances by 

artistes on some of the most beautiful 

songs of Indian cinema. Eminent 

choreographer Saroj Khan and Sajjad Ali 

had designed the live accompaniment. 

The songs included some of the earlier 

popular films, showed the effect of both 

classical and folk music on film songs, and 

concluded with the rousing ‘Chak De’ and 

‘Vande Mataram’. The Chairman of the 

Kala Academy Vishnu Wagh felicitated 

Saroj Khan, Sajjad Ali and Jahnu Barua. 

The eminent jury of the Festival was 

then presented and came up on stage. 

While renowned Indian filmmaker 

Goutam Ghose is the Chairman, the other 

members are Romanian actor Ms. Anna 

Bollywood star Akshay Kumar mesmerising the audience. 

Mr Manish Tewari, Central Minister of State for Information and Broadcasting. 

Maria Mirinca, filmmaker Lech Majewski 

of Poland, actor Ms. Malini Fonseka of Sri 

Lanka, and British critic Derek Malcolm. 

Speaking on their behalf, Ghose said IFFI 

carried a legacy of generations. 

This was followed by the other 

highlight of the evening: the presentation 

of the Lifetime Achievement award to 

renowned filmmaker Krzysztof Zanussi 

of Poland. Before the presentation by Mr 

Tewari, there was a short audio visual 

about the filmmaker, who received a 

reward of Rs 10 lakh, a citation, and a 

shawl. 

Accepting the honour, Mr Zanussi 

said he felt very moved and did not think 

this was the end of his work, as there was a 

future to look forward to and more films – 

a vocation which he felt has a great power 

over everyone. He said the world has 

changed because of cinema. He expressed 

the hope that the 21st Century would the 

century of India. 

This was followed by the versatile 

singer Kailesh Kher rendering some of 

his best known numbers in different 

languages. 

The evening concluded with the cast 

of ‘Life of Pi’, Tabu and Irrfan Khan, being 

felicitated. 

After the vote of thanks by FFI 

President Vinod Lamba who said many 

foreign filmmakers were now choosing 

to shoot in India, the audience moved to 

Kala Academy for the screening of the 

opening film. The Kala Academy was itself 

very gaily decorated, and the visitors were 

welcomed by resounding music. 

At 

Today 

Press Meets at Media Centre, Maquinez 

Palace Annexe 

10.15 am: Irrfan Khan and Tabu, stars of Opening 

film ‘Life of Pi’ by Ang Lee 

12.30 pm: Korean director Kim ki-Duk 

Marriott Resort 

10.30 am: Opening of the Film Market, National 

Film Development Corporation 

Inox Screen II 

11.30 am: Om Puri to inaugurate Indian Panorama 

Art Gallery, Kala Academy 

11.30 am: Inauguration by Information and 

Broadcasting Minister Manish Tewari 

of exhibition on 100 years of cinema 

organized by Films Division

02 

IFFI | November 21, 2012 

Acclaimed award winning 

Polish filmmaker 

Krzysztof Zanussi, 

who received the Lifetime 

Achievement Award at the 

ongoing festival, said censorship 

is a glooal phenomenon and 

filmmakers had to contend with 

this all over the world. 

He referred to the 

commercial Indian cinema as 

Bollywood which he said was a 

contemporary expression of the 

lowest common denominator in 

this country but could not be the 

main vision. However, he said 

‘we must be respectful even if it's 

not satisfactory to one's personal 

tastes." 

Both commercial cinema 

and censorship, he said, must be 

negotiated with judicious reason. 

In the case of Bollywood,, the 

objective should be to ameliorate 

the industry with intelligent 

films much in the manner of 

filmmakers like Satyajit Ray 

"whose films were seen only 

by a narrow,but 

not insignificant 

audience.” 

Referring to 

censorship, he said it was an ugly 

modus operandi harshly wielded 

by police states ‘ostensibly to 

improve our lives’ in contrast 

to democratic nations which do 

SCREENING SCHEDULE 

21st November 2012 

MORE THAN BEAUTY, ART MUST PROMOTE 

WISDOM: KRZYSZTOF ZANUSSI 

PRESS CONFERENCE 

IFFI Director Shankar Mohan with Polish Film Maker Krzysztof Zanussi. 

the same in far more humane 

ways. “The Internet may build a 

completely new 

society or it may 

even destroy 

us, so the big 

challenge is to strike a balance." 

Zanussi was even-handed in 

his opinion of Bollywood, which 

he commended for "being faithful 

to the Indian aesthetics,mentality 

and narrative traditions’ unlike 

China which reminded him of 

world cinema and did not have 

a strong identity unlike Indian 

cinema. 

Moonlighting as actor in 

films and theatre, the film-maker 

who “teaches a lot” was live with 

self-deprecating humour: “I am 

delighted to see so many of you 

here I must take your picture to 

show my wife." 

"Some people think they 

should die after receiving a top 

award. I'm afraid I can't promise 

this, my best film is ahead of me", 

said this filmmaker best known 

for Camouflage, Family Life, 

The Silent Touch, The Contract, 

Revisited and Ilumination, 

which is being screened here. 

" I discovered physics never 

loved me so I moved somewhere 

else,” he said, in response to a 

query on his choice of academics 

and career graph. “People with a 

humanistic background delude 

themselves they know the world 

can be explained; that life is a 

chaotic and bereft of sense - 

Shakespeare put that very well 

- but I feel life is a mystery and 

I try to make some sense of life, 

He visited India for the first time 

in 1975. 

Talking about the raison 

d'etre of cinema, the Polish 

Master said "art must promote 

beauty but wisdom is above 

beauty. I like to think wisdom 

is what makes my films more 

balanced but this is not always 

appreciated by the public.” 

Equally candid about Polish 

cinema, he observed,"If I say I 

am happy with Polish cinema, 

it would be a sign of stagnation. 

It is not as recognised now as it 

was 30 years ago when we were 

involved in political struggles. 

Today, we have three times 

more students than under the 

Communist regime; today, 

young filmmakers have to cope 

with new tragedies and new 

injustices. Then, we criticised 

the system, now we criticise 

ourselves.” 

by Ronita Torcato

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í`m‘ ‘mWwa

Goutam Ghose, Chairman: A prolific 

filmmaker having made 13 features 

and over 30 documentaries and short 

films, Goutam 

is probably 

the youngest 

of Indian film 

directors to have 

a documentary 

made on him. In 

fact, it took two 

years for Amar 

Roy to convince 

Goutam to face 

the camera for ‘The View Finder‘ which 

tries to capture the socially committed 

filmmaker’s dreams and aspirations on 

celluloid. Born in 1950, Goutam was a 

strident political activist and a photo 

journalist who toured the country to 

document images of life and times in 

India. His encounter with reality, in stark 

close-up, inspired him to use cinema as 

an effective instrument of self-expression. 

This debut came with ‘Hungry Autumn’, 

a prize winning documentary. Earlier, 

he acted in Grihajudda by Buddahaeb 

Dasgupta in 1982. His first feature film 

‘Babhoomi’ in Telugu depicted the 

uprising of the workers against the Nizam 

of Hyderabad. In his next film Dakhal in 

Bengali, Goutam gave a telling portrayal 

of the life of a nomadic tribe. Other films 

include ‘Antarjali Yatra’, ‘Padma Nadir 

Majhi’, ‘Paar’, ‘Patang’, and the famous 

India-Bangladesh co-production, ‘Moner 

Manush’. 

Anamaria Marinca is a Romanian 

actress. She made 

her screen debut 

with the Channel 

4 film Sex Traffic, 

for which she 

won the British 

Academy 

Television Award 

for Best Actress. 

Marinca is also 

One of the mostlooked 

forward to 

celebrities at the 

Opening of IIFI 2012 was a 

pony-tailed, tousle-haired 

artiste, with rough clothes 

and slip-on shoes. This 

maverick is Kim Ki-duk, 

Korea’s most celebrated 

filmmaker, who has won 

nearly every top award in 

the world, climaxing in the 

top Golden Lion Award 

at the Venice Festival, this 

year, for his latest film 

‘Pieta.’ 

‘Pieta’ will be one of 

five acclaimed films of 

the Director that will be 

screened at IIFI as part of 

an exclusive Retrospective 

on the great director. The 

others are ‘Spring Summer’, 

‘The Bow’, ‘Time’, ‘Breath’. 

This very famous but 

r e c l u s i v e 

director, who 

disappeared 

from the 

film scene when he went 

through a three-year 

period of depression in 

2008, is on his first-ever 

visit to India. 

Just before emplaning 

for India, the director 

was presented the highest 

award from his country 

- the Eun-gwan Silver 

Crown Medal of the 

“Order of Culture Merit.” 

The award is a personal 

and professional milestone 

for the director, who, till 

now has not received 

much recognition in his 

homeland for his cinematic 

achievements, although he 

is a cult-figure abroad. 

The Korean director’s 

life-story is as riveting 

as his films. Kim Ki-duk 

was born in a rural town, 

dropped out of school, 

and worked as a manual 

labourer (which is why 

‘Pieta’ is autobiographical). 

He later went to art school 

in Paris, where he worked 

as a street artist. He won 

a screenplay competition 

in 1996, and entered 

the world of 

cinema. 

Kim Kiduk 

has made 

18 memorable films 

since then that have been 

screened at some of the top 

film festivals of the world 

Five acclaimed films of 

the director will be screened 

in the Retrospective, while 

another film ‘Spring, 

OUR ESTEEMED JURY 

known for her performance in 4 Months, 

3 Weeks and 2 Days, earning several 

awards for her performance, and was 

nominated for the Chlotrudis Award 

for Best Actress, European Film Award 

for Best Actress, London Film Critics 

Circle Award for Actress of the Year, Los 

Angeles Film Critics Association Award 

for Best Actress and National Society of 

Film Critics Award for Best Actress. In 

2008, at the 58th Berlin International 

Film Festival, she was presented the 

Shooting Stars Award by the European 

Film Promotion. She has acted in more 

than twenty films in different languages. 

Derek Malcolm is a British film critic 

and historian who has been coming to 

India for over 

two decades. 

He was 

educated at 

Eton College 

and Oxford 

University. 

He worked 

for several 

decades as 

a film critic 

for The 

Guardian, having previously been an 

amateur jockey and the paper’s first horse 

racing correspondent. In 1977, he was 

a member of the jury at the 27th Berlin 

International Film Festival.[1] In the 

mid-1980s he was host of The Film Club 

on BBC2, which was dedicated to art 

house films. Upon leaving The Guardian 

in 2000, he published his final series of 

articles, The Century of Films, in which 

he shared his favourite films from around 

the world. After The Guardian he became 

chief film critic for the Evening Standard, 

before being replaced in 2009 by novelist 

Andrew O’Hagan. He still contributes 

film reviews for the newspaper. Malcolm 

is President of the British Federation of 

Film Societies and the International Film 

Critics’ Circle. 

Summer, Fall, Winter--and 

Spring’ (2003),considered 

one of his most 

outstanding, will be shown 

in the ‘Soul of Asia’ section. 

This movie was included in 

well-known critic Roger 

Ebert’s ‘List of Great Films.’ 

Dr Malani Senehelatha Fonseka is an 

award-winning Sri Lankan film actress, 

also known as the “Queen of Sinhalese 

cinema”. Her cinema career which has 

spanned many 

decades began 

with Tissa 

Liyansooriya’s 

Punchi Baba 

in 1968. She 

first earned 

recognition, 

when she won 

the ‘Best Actress 

Award’ at the 1969 National State Drama 

Festival This was followed by Sarasaviya 

Best Actress Awards for Hingana Kolla in 

1980, Aradhana in 1982 and Yasa Isuru 

in 1983. In 2010 she has been named 

by CNN as one of Asia’s 25 greatest 

film actors of all time. She was the first 

Srilankan actor to get international 

recognition in Moscow and many other 

countries including India where she 

got the best actress award at the Sixth 

International film festival in Delhi for 

‘Sripala and Ran Manika’. She is currently 

a member of Parliament in her country. 

Lech Majewski is a Polish film and 

theatre director, writer, poet, and painter. 

Born in Katowice, Poland, Majewski 

studied at the 

Academy of Fine 

Arts in Warsaw. 

In the 1970s, 

he studied at 

the National 

Film School in 

Łódź, notably 

as a student of 

Wojciech Has, 

who taught 

Majewski directing. In the early 80s, after 

completing The Knight and as martial 

law was declared in Poland, Majewski 

emigrated to England and then to the 

United States, where he lived for most of 

the late Communist era. Today, Majewski 

The Bow (2005) is set 

in a fishing boat, which is 

the home of a 60- yearold 

fisherman and a 16 yearold 

girl, who he brought up 

as a child. But he wants to 

marry her. Things change, 

when a teenage student 

comes aboard the boat. 

The film was in the Un 

Certain Regard section of 

the Cannes festival 

Time (2006) portrays 

the story of a girl who 

undergoes plastic surgery 

and changes her face, to 

retain the interest of her 

philandering lover. It won 

an award at the Chicago 

film festival. 

Breath (2007) tells the 

tale of a convicted prisoner 

who falls in love with the 

girl who decorates his 

prison-cell. It was in the 

Competition section of the 

Cannes festival. 

Dream (2008) has 

the riveting story of a 

man who dreams, and a 

woman who experiences 

what he dreams. Famed 

Japanese actor Joe 

Odagiri plays the lead. 

This is one of the few 

films of the director that 

did well in his homeland. 

But ironically, it was the 

movie that sparked off his 

long period of depression, 

when his actress had a 

near-fatal accident during 

the shooting of the film. 

Pieta (2012) is about 

a brutal loan-shark who 


05 

is a dual U.S. / Polish citizen, and travels 

often between those and other countries. 

He is a member of the American and 

European film academies and the Polish 

International PEN. In 2006-2007, Wendy 

Lidell of International Film Circuit 

circulated a retrospective of his work 

across the United States and Canada 

Kim Ki-Duk: A maverick but reclusive filmmaker 

RETROSPECTIVE 

WHAT THE WINNERS GET 

Best Film 

Golden Peacock, Certificate and a 

cash prize of 90,000 USD (approx) 

to be shared equally between the 

Director and Producer 

Best Director 

Silver Peacock, Certificate and a 


Best Actor (Male) 



Best Actor (Female) 



Special Jury Award 



Indian Cinema Centenary 

Award 

Silver Peacock, Certificate and 

a cash prize of 20,000 USD 

(approx), for a feature film that 

reflects a new paradigm in motion 

pictures in terms of aesthetics, 

technique or technological 

innovation 

maims the debtors who do 

not repay his loans. His life 

takes a turn for the worse, 

when he meets a woman 

who claims to be his 

mother. The film won the 

top Golden Lion Award 

at the Venice Festival, this 

year. 

“Extreme capitalism is 

the theme of my movie”, 

stated Kim Ki-duk about 

his latest tale, which is 

one of the most lookedforward-to 

films, at IIFI. 

“I tried to depict the life 

of people being destroyed 

by money. But I also want 

to say that humans can 

eventually be forgiven for 

their crimes.” 

As for his trip to India, 

the director sated “I have 

visited many countries, 

but this is my first trip to 

India, and I am excited. I 

am aware that the musical 

films here are cheerful and 

happy. I hope the audiences 

will accept my film which 

has a cruel, sad story. All 

I would like to say, is that 

they may feel a ‘miracle 

moment’, if they watch the 

film with their heart. ” 

-Lekha Shankar

06 


A CHRONOLOGY OF INTERNATIONAL FILM FESTIVALS OF INDIA 

The practice of holding festivals started in Venice in 1932 as part of the city’s traditional international Art Exhibition. The Cannes International Film Festival of France was 

started in 1939. 

The nations which were rebuilding their film industry after the World War saw in festivals a chance for world recognition. 

As international political alliances were being reconstituted, the festivals provided an opportunity for interaction. Festivals were started in Berlin, Moscow, Karlovy Vary 

(Czechoslovakia), London, San Francisco and New York City. 

1. 1952 Mumbai Non-Competitive - Festival also 

taken to Kolkata, Chennai, Delhi 

2. 1961 Delhi Non-Competitive 

3. 1965 Delhi Competitive - Graded ‘A’ category by 

Paris based Federation International 

De Producers De Films (FIAFPF) 

4. 1969 Delhi Competitive 


6. 1975 Delhi Competitive - Permanent insignia 

comprising a peacock, India’s national Bird, 

with a permanent motto of the festival 

‘Vasudhaiva Kutumbakum’ (the whole 

7. 1976 

world is a family) 

Mumbai Competitive 

8. *1977 Delhi Competitive 

9. 1978 Chennai Non-competitive – Introduction 

of Indian Panorama 


11. 1980 Bangalore Non-competitive 


13. 1982 Kolkata Non-competitive 

14. 1983 Delhi Competitive – Sirifort Complex, built 

for 9th Asian Games, used as venue 

15. 1984 Mumbai Non-competitive 

16. 1985 Delhi Competitive – Special short film 

section, Documedia 

17. 1986 Hyderabad Non-competitive 

18. 1987 Delhi Competitive – Dates changed from 3 to 

17 January, to 10 to 24 January Introduction 

of Mainstream Cinema section 

19. 1988 Thiruvananthapuram Non-competitive 

20. #1989 Delhi Non-Competitive - Festival restricted 

to 10 days, 10 to 20 January- Information 

section was re-christened ‘Cinema of the 

World’ 

21. 1990 Kolkata Non-competitive – Use of word 

‘Filmotsav’ discontinued 

22. 1991 Chennai Non-competitive 

23. 1992 Bangalore Non-competitive 

24. 1993 Delhi Non-competitive 

25. 1994 Kolkata Non-competitive 

26. 1995 Mumbai – Non-competitive - Celebration 

of Hundred Years of Cinema 

27. @1996 Delhi Competitive re-introduced, confined 

to Asian women. 

28. 1997 Thirvanthanpuram Competitive 

29. 1998 

Introduction of ‘Sangamam’ organized in 

collaboration with the Federation of Film 

Societies of India. Called Open Forum in 

later festivals 

Delhi Competitive - extended to Asian 

cinema 

30. 1999 Hyderabad Competitive 


32. 2001 NO FESTIVAL 


34. 2003 Delhi Competitive – Festival Shifted to 

October 

35. 2004 Goa Competitive – Festival shifted to 

November-December 

36. 2005 Goa Competitive - extended to Asia, 

Africa, Latin America Master Class sessions 

introduced 

37. 2006 Goa Competitive 

38. 2007 Goa Competitive – Online Registration, 

ticketing system, introduced Mainstream 

Cinema section discontinued 

39. 2008 Goa Competitive – Daily delegate system 

introduced Unique section on films made 

on the Taj Mahal; For the first time, Focus on 

Edited by: B B Nagpal on behalf of IFFI Secretariat, Ministry of Information & Broadcasting, New Delhi. 

Hindi Editor: Dr. Rajeev Shrivastav, Co-ordinator: Rizwan Ahamd, Deputy Director 

Photos: Photo Division 

Printed at: Impressions, Belgaum 

three countries – Russia, Switzerland, and 

Iran. For the first time since its inception in 

1978, the number of features in the Indian 

Panorama exceeded 21 and was 26, with no 

Mainstream Cinema section 

40. 2009 Goa Competitive – Season Ticket 

41. 2010 

introduced. Daily tickets confined to Indian 

Panorama. Focus section extended to 

one continent – Latin America – and five 

countries – France, Italy, Poland, Croatia, 

and Estonia. Unique section on War & 

Peace 

Goa Competitive section made global 

instead of Asia, Africa and Latin America. 

Two new awards for Best Actor and best 

actress introduced New section on fulllength 

documentaries introduced 

42. 2011 Goa Competitive – Permanent and separate 

IFFI Secretariat established, Shankar 

Mohan becomes first IFFI Director 

43. 2012 

Introduction of Festival Kaleidoscope and 

other new sections Inauguration for first 

time in Margoan Re-introduction of Life 

Time Achievement Award 

Goa Competitive – Centenary of Indian 

Cinema section primary highlight 

Inauguration in open air Football 

Grounds in Panaji Master Strokes, A Cut 

Above, Chai and Chat, soul of Asia on 

Mysticism, Incredible India to promote 

India as a film shooting site, and other 

new sections introduced Introduction 

of Centenary Award, amounting to Rs 

10 lakh Introduction of film shows on 

beaches. 

*Between 1977 and 1987, a policy was adopted whereby all Festivals held in Delhi were competitive and were known as International Film Festival of India while those held in 

other cities were non-competitive and were known as Filmotsav. 

#It was decided that all Festivals from 1988 onwards would be non-competitive and so the Filmotsav tag was discontinued 

@ Competition re-introduced from 1996 onwards as regular annual feature 

+ Dates in November or December vary according to Diwali and other Festivals. - B B Nagpal 

GLIMPSES OF THE GRAND OPENING CEREMONY 

IFFI Director Shankar Mohan with our Esteemed Jury. 

Our Honoured Guests pose for the camera. 

Kailash Kher moving the audience. Cultural programmes.

IFFI Bulletin - 21 nd November - International Film Festival of India

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